Composed by Carl
Strommen. Sws. Fps. Full
score. 16 pages. Duration
4 minutes, 29 seconds.
Carl Fischer Music
#FPS159F. Published by
Carl Fischer Music
(CF.FPS159F).
ISBN
9781491158296. UPC:
680160916894. 9 x 12
inches.
The
commissioning party of We
Are the Heroes requested
that the band arrangement
work alone and with full
chorus. Based on the
school theme Building a
Better World, the lyrics
(see below) were
contributed by the
students at the Sea Cliff
Elementary School, part
of the Long Island, New
York's North Shore school
district. When performed
with chorus, the
director(s) should
consider balance,
placement of the chorus
(in front of or behind
the band), whether on
risers, and if
amplification is used. At
the director's
discretion, written
dynamics may be altered.
Verse: A word and a
smile, with hope in our
heart with kindness and
and love reaching out to
us all - a helping hand
one step at a time, it
starts with a smile, one
voice will be heard we
will build a better world
- for all Chorus: We are
the future, we are have a
voice we are the future,
we have a choice we are
the heroes, weall lead
the way to make a better
world, today we are the
future- now hear our song
we are the future and we
are strong we are the
heroes, weall lead the
way to build a better
world - to-day Chorus 2:
to be repeated as many
times as desired- with
increasing intensity We
are the future - we are
the heroes we make the
music, we have the power
Our voices proud and
strong the futureas in
our hands Weall build a
better world - today
(repeat). The
commissioning party of We
Are the Heroes requested
that the band arrangement
work alone and with full
chorus. Based on the
school theme Building a
Better World, the lyrics
(see below) were
contributed by the
students at the Sea Cliff
Elementary School, part
of the Long Island, New
York's North Shore school
district. When performed
with chorus, the
director(s) should
consider balance,
placement of the chorus
(in front of or behind
the band), whether on
risers, and if
amplification is used. At
the director's
discretion, written
dynamics may be altered.
Verse: A word and a
smile, with hope in our
heart with kindness and
and love reaching out to
us all - a helping hand
one step at a time, it
starts with a smile, one
voice will be heard we
will build a better world
- for all Chorus: We are
the future, we are have a
voice we are the future,
we have a choice we are
the heroes, we'll lead
the way to make a better
world, today we are the
future- now hear our song
we are the future and we
are strong we are the
heroes, we'll lead the
way to build a better
world - to-day Chorus 2:
to be repeated as many
times as desired- with
increasing intensity We
are the future - we are
the heroes we make the
music, we have the power
Our voices proud and
strong the future's in
our hands We'll build a
better world - today
(repeat). The
commissioning party of We
Are the Heroes requested
that the band arrangement
work alone and with full
chorus. Based on the
school theme Building a
Better World, the lyrics
(see below) were
contributed by the
students at the Sea Cliff
Elementary School, part
of the Long Island, New
York's North Shore school
district.When performed
with chorus, the
director(s) should
consider balance,
placement of the chorus
(in front of or behind
the band), whether on
risers, and if
amplification is used. At
the director's
discretion, written
dynamics may be
altered.Verse:A word and
a smile, with hope in our
heartwith kindness and
and love reaching out to
us all - a helping hand
onestep at a time, it
starts with a smile, one
voice will be heard we
will builda better world
- for allChorus:We are
the future, we are have a
voice we are the future,
we have achoice we are
the heroes, we’ll
lead the way to make a
better world,todaywe are
the future- now hear our
song we are the future
and we arestrongwe are
the heroes, we’ll
lead the way to build a
better world -
to-dayChorus 2: to be
repeated as many times as
desired- with
increasingintensityWe are
the future - we are the
heroes we make the music,
we have thepower Our
voices proud and
strongthe future’s
in our handsWe’ll
build a better world -
today (repeat).
Composed by Carl
Strommen. Folio. Fps. Set
of Score and Parts.
8+2+4+4+2+5+2+2+4+4+3+6+2
+3+1+1+3+16 pages.
Duration 4 minutes, 29
seconds. Carl Fischer
Music #FPS159. Published
by Carl Fischer Music
(CF.FPS159).
ISBN
9781491158289. UPC:
680160916887. 9 x 12
inches.
The
commissioning party of We
Are the Heroes requested
that the band arrangement
work alone and with full
chorus. Based on the
school theme Building a
Better World, the lyrics
(see below) were
contributed by the
students at the Sea Cliff
Elementary School, part
of the Long Island, New
York's North Shore school
district. When performed
with chorus, the
director(s) should
consider balance,
placement of the chorus
(in front of or behind
the band), whether on
risers, and if
amplification is used. At
the director's
discretion, written
dynamics may be altered.
Verse: A word and a
smile, with hope in our
heart with kindness and
and love reaching out to
us all - a helping hand
one step at a time, it
starts with a smile, one
voice will be heard we
will build a better world
- for all Chorus: We are
the future, we are have a
voice we are the future,
we have a choice we are
the heroes, weall lead
the way to make a better
world, today we are the
future- now hear our song
we are the future and we
are strong we are the
heroes, weall lead the
way to build a better
world - to-day Chorus 2:
to be repeated as many
times as desired- with
increasing intensity We
are the future - we are
the heroes we make the
music, we have the power
Our voices proud and
strong the futureas in
our hands Weall build a
better world - today
(repeat). The
commissioning party of We
Are the Heroes requested
that the band arrangement
work alone and with full
chorus. Based on the
school theme Building a
Better World, the lyrics
(see below) were
contributed by the
students at the Sea Cliff
Elementary School, part
of the Long Island, New
York's North Shore school
district. When performed
with chorus, the
director(s) should
consider balance,
placement of the chorus
(in front of or behind
the band), whether on
risers, and if
amplification is used. At
the director's
discretion, written
dynamics may be altered.
Verse: A word and a
smile, with hope in our
heart with kindness and
and love reaching out to
us all - a helping hand
one step at a time, it
starts with a smile, one
voice will be heard we
will build a better world
- for all Chorus: We are
the future, we are have a
voice we are the future,
we have a choice we are
the heroes, we'll lead
the way to make a better
world, today we are the
future- now hear our song
we are the future and we
are strong we are the
heroes, we'll lead the
way to build a better
world - to-day Chorus 2:
to be repeated as many
times as desired- with
increasing intensity We
are the future - we are
the heroes we make the
music, we have the power
Our voices proud and
strong the future's in
our hands We'll build a
better world - today
(repeat). The
commissioning party of We
Are the Heroes requested
that the band arrangement
work alone and with full
chorus. Based on the
school theme Building a
Better World, the lyrics
(see below) were
contributed by the
students at the Sea Cliff
Elementary School, part
of the Long Island, New
York's North Shore school
district.When performed
with chorus, the
director(s) should
consider balance,
placement of the chorus
(in front of or behind
the band), whether on
risers, and if
amplification is used. At
the director's
discretion, written
dynamics may be
altered.Verse:A word and
a smile, with hope in our
heartwith kindness and
and love reaching out to
us all - a helping hand
onestep at a time, it
starts with a smile, one
voice will be heard we
will builda better world
- for allChorus:We are
the future, we are have a
voice we are the future,
we have achoice we are
the heroes, we’ll
lead the way to make a
better world,todaywe are
the future- now hear our
song we are the future
and we arestrongwe are
the heroes, we’ll
lead the way to build a
better world -
to-dayChorus 2: to be
repeated as many times as
desired- with
increasingintensityWe are
the future - we are the
heroes we make the music,
we have thepower Our
voices proud and
strongthe future’s
in our handsWe’ll
build a better world -
today (repeat).
A Guide to DJ-ing and Electronic Music. Composed by Austen Smart, Scott Smart...(+)
A Guide to DJ-ing and
Electronic Music.
Composed
by Austen Smart, Scott
Smart, and Tom Dent. Pro
Audio; Reference
Textbooks;
Resources; Textbook -
General. Faber Edition.
Book; Digital Download.
Faber Music
#12-0571540619.
Published by Faber Music
Performed by Justin Timberlake. Piano/Vocal/Chords Songbook (Arrangements for pi...(+)
Performed by Justin
Timberlake.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords).
Softcover. Size 9x12
inches. 128 pages.
Published by Hal Leonard.
(Guitar TAB). For Guitar. This edition: Guitar TAB. Artist/Personality; Book; Gu...(+)
(Guitar TAB). For Guitar.
This edition: Guitar TAB.
Artist/Personality; Book;
Guitar Personality;
Guitar TAB. Rock.
Published by Alfred Music
Publishing
Inspire! Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1185978-010 Journey of a...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1185978-010
Journey of a Child's
Dream. Composed by
Satoshi Yagisawa. Concert
and Contest Collection
CBHA. Concert Piece. Set
(Score & Parts). Composed
2018. De Haske
Publications #DHP
1185978-010. Published by
De Haske Publications
(BT.DHP-1185978-010).
English-German-French-
Dutch.
Composer
Satoshi Yagisawa is very
popular in Asia, and has
a great reputation in
Singapore in particular.
He composed this piece in
2017 as a commission from
the Yishun Primary School
Concert Band. The title
Inspire! comes
from the initials of the
classroom names at the
school:
Independence,
Nation-Loving,
Sincerity,
Perseverance,
Integrity,
Respect and
Excellence. The
piece is imbued with
positivity and belief in
the future for the young
generations to
come.
Componist
Satoshi Yagisawa is enorm
populair in Azië, en
dan met name in
Singapore. Hij schreef
dit werk in 2017 in
opdracht van de
Singaporese Yishun
Primary School Concert
Band. De titel is
gebaseerd op de initialen
van de namen van de
klaslokalen in de school:
Independence,
Nation Loving,
Sincerity,
Perseverance,
Integrity,
Respect en
Excellence
(Onafhankelijkheid,
Liefde voor het land,
Oprechtheid, Volharding,
Integriteit, Respect en
Uitmuntendheid). Het werk
ademt optimisme en
verklankt een positief
geloof in de toekomst van
jonge
generaties.
Der
Komponist Satoshi
Yagisawa ist in Asien
sehr beliebt, ganz
besonders auch in
Singapur. Er komponierte
dieses Stück im Jahr
2017 als Auftragswerk
für die Yishun Primary
School Concert Band in
Singapur, wo der
Komponist großes
Ansehen genießt. Der
Titel Inspire!
ergab sich aus den
Initialen der Namen der
Klassenräume in der
Schule:
Independence,
Nation Loving,
Sincerity,
Perseverance,
Integrity,
Respect und
Excellence. Das
Stück strahlt eine
positive Stimmung und den
Glauben an die Zukunft
für die kommende junge
Generation aus.
Inspire! Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1185978-140 Journey of a...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1185978-140
Journey of a Child's
Dream. Composed by
Satoshi Yagisawa. Concert
and Contest Collection
CBHA. Concert Piece.
Score Only. Composed
2018. 17 pages. De Haske
Publications #DHP
1185978-140. Published by
De Haske Publications
(BT.DHP-1185978-140).
English-German-French-
Dutch.
Composer
Satoshi Yagisawa is very
popular in Asia, and has
a great reputation in
Singapore in particular.
He composed this piece in
2017 as a commission from
the Yishun Primary School
Concert Band. The title
Inspire! comes
from the initials of the
classroom names at the
school:
Independence,
Nation-Loving,
Sincerity,
Perseverance,
Integrity,
Respect and
Excellence. The
piece is imbued with
positivity and belief in
the future for the young
generations to
come.
Componist
Satoshi Yagisawa is enorm
populair in Azië, en
dan met name in
Singapore. Hij schreef
dit werk in 2017 in
opdracht van de
Singaporese Yishun
Primary School Concert
Band. De titel is
gebaseerd op de initialen
van de namen van de
klaslokalen in de school:
Independence,
Nation Loving,
Sincerity,
Perseverance,
Integrity,
Respect en
Excellence
(Onafhankelijkheid,
Liefde voor het land,
Oprechtheid, Volharding,
Integriteit, Respect en
Uitmuntendheid). Het werk
ademt optimisme en
verklankt een positief
geloof in de toekomst van
jonge
generaties.
Der
Komponist Satoshi
Yagisawa ist in Asien
sehr beliebt, ganz
besonders auch in
Singapur. Er komponierte
dieses Stück im Jahr
2017 als Auftragswerk
für die Yishun Primary
School Concert Band in
Singapur, wo der
Komponist großes
Ansehen genießt. Der
Titel Inspire!
ergab sich aus den
Initialen der Namen der
Klassenräume in der
Schule:
Independence,
Nation Loving,
Sincerity,
Perseverance,
Integrity,
Respect und
Excellence. Das
Stück strahlt eine
positive Stimmung und den
Glauben an die Zukunft
für die kommende junge
Generation aus.
Sona
ta No. 6 Kharkiv for
guitar solo was composed
in 2021, in the end of
the COVID-19 lockdown. At
that time my family and I
were staying in our home
city of Kharkiv (also
known as Kharkov),
Ukraine for almost two
years. We considered that
pandemic period as a
disaster, but later have
realized that it actually
was a rather happy time,
because a war came to our
homeland just a few
months later. Since 2022
a considerable fraction
of the 1.5 millions of
Kharkiv citizens have
left their homes, those
who stayed have been
living under ceaseless
missile attacks, and many
have been killed. I would
like to dedicate this
Sonata to the frontier
city of Kharkiv and, most
of all, to its citizens
suffering from the
war. Yet, the music of
the Sonata does not have
any specific program.
Here I will give a brief
overview of its main
composition elements to
facilitate future
interpretations. The
first and fourth
movements of this Sonata
are based on the
interplay between the
twelve-tone principle and
the G-major tonal center,
natural for the guitar.
Namely, the first
movement is based on the
interaction of the
G-major triad Gâ??Bâ??D
of the open guitar
strings 2â??3â??4,
ascending motif 1
involving the notes
Eâ??F#â??Aâ??C#
(originally on the first
string), and descending
motif 2 using the notes
E-â??Câ??Bbâ??A-
(originally, on the bass
string 6). These elements
supplement each other to
almost make up twelve
tones (apart from the
missing F), and the
motifs alternate with
ostinato fragments where
each note in the G major
triad is step-by-step
moved by a semitone up or
down. The second
movement is a Scherzo
involving numerous
semitones in accented
chords and fast passages,
as well as chromatic
melodic motion in the
bass voice. It is almost
atonal in some fragments,
but has an overall tonal
center of A-minor. The
third movement is a
meditative Adagio based
on a theme composed
within hexatonic scale
Dâ??Eâ??Fâ??G#â??Aâ?
?B and ostinato chords
involving open bass
strings Eâ??Aâ??D and
semitone
Bâ??C. Finally, the
fourth movement is based
on the complete
twelve-tone theme
consisting of two phrases
including motifs 1 and 2
from the first movement:
Gâ??Fâ??Bbâ??Abâ??Câ
??Ebâ??D and
Eâ??Bâ??C#â??Aâ??F#.
This theme is presented
in its prime and
retrograde forms. There
are dialogues between the
first string, basses and
open middle strings,
similar to the first
movement. In the
culmination, the
twelve-tone theme is
performed using the
parallel motion of the
standard guitar G-major
chord with open middle
strings across twelve
positions. The Sonata
was premiered and
recorded (CD Naxos No.
8.574630) by the
prominent Ukrainian
guitarist Marko Topchii
who has also lived and
studied in Kharkiv. I am
extremely grateful to him
for the brilliant
performance of this
piece. I am greatly
indebted to Productions
dâ??Oz for keeping my
original notations in
places where these do not
conform to the
publisherâ??s style.
Chamber Music Piano SKU: PR.140401330 Composed by R. Nathaniel Dett. Edit...(+)
Chamber Music Piano
SKU: PR.140401330
Composed by R. Nathaniel
Dett. Edited by Lara
Downes. 32 pages.
Duration 18 minutes.
Theodore Presser Company
#140-40133. Published by
Theodore Presser Company
(PR.140401330).
ISBN
9781491134412. UPC:
680160684939.
Natha
niel Dett was among
America’s leading
composers in the early
20th century, and
MAGNOLIA SUITE is a
beautiful example of his
rich, hybrid style.
Deeply inspired by the
music and mission of
Samuel Coleridge-Taylor,
Dett’s piano music
springs from the late
Romantic traditions of
florid texture and
embellishment, along with
programmatic titles and
raw emotion. It is
notable for melody
writing inspired by and
paraphrasing
African-American song.
The 18-minute MAGNOLIA
SUITE contains five
movements, any of which
may also be performed
separately. This edition
by Lara Downes provides a
clean, new engraving that
corrects the many errors
and unclear indications
appearing in the
historical
printing. Robert
Nathaniel Dett was born
in a place that was built
on freedom. The little
village of Drummondville,
Ontario was founded by
enslaved Africans
– Dett’s
ancestors among them
– who traveled the
Underground Railroad out
of the American South
into Canada. Their
journey brought them to a
safe haven, a place where
fortunes and futures
could be transformed in
the span of one
generation, to lives full
of new possibilities. You
could call it “the
place where the rainbow
ends,†which is the
title of the last
movement of Dett’s
Magnolia Suite.When Dett
wrote these pieces, he
was a young teacher at
Lane College in
Tennessee, a historically
Black college that had
been founded in 1882, the
year of his birth. A
place built on freedom,
with the purpose of
educating
newly-emancipated slaves
– a place designed
to nurture the blossoming
of ideas, the vibrant
flowering of minds set
free. This music is
inspired by the gorgeous
splendor of the magnolia
blooms on that college
campus, and also by the
shared histories,
experiences, and
aspirations of the
community that Dett found
there.These five pieces
pay affectionate tribute
to lineage and legacy.
They express gratitude
for the bittersweet
beauties of the present;
nostalgia for the past (a
bit romanticized, as the
past always is); and an
effervescent optimism for
the future that awaits us
in the place where the
rainbow ends.
Concert Band/Harmonie - Grade 3.5 SKU: BT.DHP-1216355-010 Ava Max - Bi...(+)
Concert Band/Harmonie -
Grade 3.5
SKU:
BT.DHP-1216355-010
Ava Max - Billie
Eilish - Dua Lipa.
Arranged by Peter Kleine
Schaars. Peter's Popular
Collection. Pop and Rock.
Set (Score and Parts).
Composed 2021. De Haske
Publications #DHP
1216355-010. Published by
De Haske Publications
(BT.DHP-1216355-010).
English-German-French-
Dutch.
Ava Max,
Billie Eilish and Dua
Lipa: altogether, they
possess a great deal of
girl power. That was all
Peter Kleine Schaars
needed to arrange this
exciting, great-sounding
and playable pop medley.
With hits like â??Kings
and Queensâ??,â??My
Futureâ?? and â??Break
My Heartâ??, these
female artists from
todayâ??s pop scene
certainly gave the year
2020 an entertaining
boost!
Ava Max,
Billie Eilish en Dua
Lipa: samen zijn ze goed
voor een flinke dosis
girlpower. Meer was er
voor Peter Kleine Schaars
niet nodig om een
spetterende, maar vooral
goed klinkende en
speelbare popmedley te
arrangeren. Met hitsals
â??Kings and Queensâ??,
â??My Futureâ?? en
â??Break My Heartâ??
wisten deze vrouwelijke
artiesten uit de
hedendaagse popmuziek het
jaar 2020 toch nog
behoorlijk wat schwung te
geven!
Ava Max,
Billie Eilish und Dua
Lipa sie alle stehen
für extrem viel
Girlpower. Mehr brauchte
Peter Kleine Schaars
nicht, um dieses
spannende, groÃ?artig
klingende und gut
spielbare Pop-Medley zu
arrangieren. Mit Hits wie
Kings andQueensâ??, My
Futureâ?? und Break My
Heartâ?? haben die
Künstlerinnen aus der
heutigen Popszene dem
Jahr 2020 einen
unterhaltsamen Schub
verliehen!
Concert Band/Harmonie - Grade 3.5 SKU: BT.DHP-1216355-140 Ava Max - Bi...(+)
Concert Band/Harmonie -
Grade 3.5
SKU:
BT.DHP-1216355-140
Ava Max - Billie
Eilish - Dua Lipa.
Arranged by Peter Kleine
Schaars. Peter's Popular
Collection. Pop and Rock.
Score Only. Composed
2021. 34 pages. De Haske
Publications #DHP
1216355-140. Published by
De Haske Publications
(BT.DHP-1216355-140).
English-German-French-
Dutch.
Ava Max,
Billie Eilish and Dua
Lipa: altogether, they
possess a great deal of
girl power. That was all
Peter Kleine Schaars
needed to arrange this
exciting, great-sounding
and playable pop medley.
With hits like
‘Kings and
Queens’,‘My
Future’ and
‘Break My
Heart’, these
female artists from
today’s pop scene
certainly gave the year
2020 an entertaining
boost!
Ava Max,
Billie Eilish en Dua
Lipa: samen zijn ze goed
voor een flinke dosis
girlpower. Meer was er
voor Peter Kleine Schaars
niet nodig om een
spetterende, maar vooral
goed klinkende en
speelbare popmedley te
arrangeren. Met hitsals
‘Kings and
Queens’, ‘My
Future’ en
‘Break My
Heart’ wisten deze
vrouwelijke artiesten uit
de hedendaagse popmuziek
het jaar 2020 toch nog
behoorlijk wat schwung te
geven!
Ava Max,
Billie Eilish und Dua
Lipa sie alle stehen
für extrem viel
Girlpower. Mehr brauchte
Peter Kleine Schaars
nicht, um dieses
spannende, großartig
klingende und gut
spielbare Pop-Medley zu
arrangieren. Mit Hits wie
Kings andQueens“,
My Future“ und
Break My Heart“
haben die
Künstlerinnen aus der
heutigen Popszene dem
Jahr 2020 einen
unterhaltsamen Schub
verliehen!
Orchestra Concert Band SKU: PR.44641256L For Orchestra. Composed b...(+)
Orchestra Concert Band
SKU: PR.44641256L
For Orchestra.
Composed by Ellen Taaffe
Zwilich. This edition:
Orchestra version.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
28 pages. Duration 12
minutes. Theodore Presser
Company #446-41256L.
Published by Theodore
Presser Company
(PR.44641256L).
UPC:
680160596010. 11 x 17
inches. Key: A
major.
Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall a each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall -- each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements.I. FanfareThe
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall — each
testing the capacities of
the other. I decided to
have the ensemble greet
and salute the new Ruby
Diamond Hall with a
Fanfare that includes
offstage brass players in
3 different locations in
the audience.II.
Reminiscence and
CelebrationThe 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future.
Orchestra Concert Band SKU: PR.446412560 For Orchestra. Composed b...(+)
Orchestra Concert Band
SKU: PR.446412560
For Orchestra.
Composed by Ellen Taaffe
Zwilich. This edition:
Orchestra version. Sws.
Contemporary. Full score.
With Standard notation.
Composed 2010. 28 pages.
Duration 12 minutes.
Theodore Presser Company
#446-41256. Published by
Theodore Presser Company
(PR.446412560).
ISBN
9781598063738. UPC:
680160596003. 9x12
inches. Key: A
major.
Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall a each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall -- each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements.I. FanfareThe
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall — each
testing the capacities of
the other. I decided to
have the ensemble greet
and salute the new Ruby
Diamond Hall with a
Fanfare that includes
offstage brass players in
3 different locations in
the audience.II.
Reminiscence and
CelebrationThe 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future.
Composed
by Michael Boo. Sws. Bps.
Full score. 16 pages.
Duration 2:20. Carl
Fischer Music #BPS137F.
Published by Carl Fischer
Music (CF.BPS137F).
ISBN 9781491158494.
UPC: 680160917099. 9 x 12
inches.
Fanfare and
Jubilation is a Grade 1
work that is playable by
any beginning band with
any instrumentation due
to extensive doubling.
The mood is regal and
optimistic and is
non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldnat be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you donat have
access to Timpani or a
timpanist. Bells cover a
wide rangea|the lower
octave sections should
not be played louder just
because theyare low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
donat get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isnat plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldn't be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you don't have
access to Timpani or a
timpanist. Bells cover a
wide range...the lower
octave sections should
not be played louder just
because they're low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don't get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isn't plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion.Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue.Percussion accents
are to played with more
emphasis than
non-accented notes, but
shouldn’t be
perceived as being much
louder. Timpani is only
two pitches and is
optional. The piece will
not suffer at all if you
don’t have access
to Timpani or a
timpanist. Bells cover a
wide range…the
lower octave sections
should not be played
louder just because
they’re low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate.Think of
the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don’t get carried
away and give them more
emphasis than is
musically desired.At m.
21, be careful that the
bass line isn’t
plodding or
over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section.There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future.
SKU: GI.G-10710 Composed by Mary Land & Scott Rush. Habits. Music Educati...(+)
SKU: GI.G-10710
Composed by Mary Land &
Scott Rush. Habits. Music
Education. 360 pages. GIA
Publications #10710.
Published by GIA
Publications
(GI.G-10710).
ISBN
9781622776542.
Havi
ng been a high school
band director for 30
years, I experienced
firsthand the learning on
the job syndrome that
music educators
encounter. From effective
rehearsal strategies to
repertoire selection to
class scheduling to what
to teach, Mary Land and
Scott Rush have provided
a valuable resource to
supplement our music
education curriculum.
Habits of a Successful
Music Education Student
contains a wide array of
essential information
that all music educators
should know before they
start teaching! Alex
Kaminsky Director of
Bands, VanderCook College
of Music Habits of a
Successful Music
Education Student is a
fantastic and important
addition to the series
and a much-needed
resource for the
collegiate music
education curriculum!
Scott Rush and Mary Land
provide a wealth of
materials, knowledge, and
wisdom for prospective
instrumental music
teachers while including
a sequential curriculum
and valuable topics for
discussion for an
instrumental methods
course. Dr. Stephen
Meyer Director of
Bands, Northern Arizona
University Mary Land and
Scott Rush have blended
their combined
knowledge-and-wisdom in a
remarkable book, Habits
of a Successful Music
Education Student.
 Two brilliant minds,
two master educators, two
first-class musicians,
two of our
profession’s most
celebrated exemplars
offer-up priceless
information certain to
bring success to ALL,
benefits,
benefits…and more
benefits. Â This is a
MUST READ for
anyone/everyone who
aspires to be A TEACHER
WHO MAKES A POSITIVE
IMPACT! Tim
Lautzenheiser Senior
Vice President of
Education, Conn-Selmer,
Inc. This is a
significant text in the
training of future
instrumental music
teachers. It is informed
by years of meaningful,
influential, and
substantial musical
efforts, achievements,
insights, and
contemplations. This book
will help future
instrumental music
teachers be more
effective and
knowledgeable as they
enter our challenging and
rewarding field. With the
valuable foundation
derived through this
book, future band and
orchestra teachers will
be better equipped to get
more music to more
people. Dr. Amanda
Schlegel Assistant
Professor of Music
Education, University of
South Carolina Â
    Habits
of a Successful Music
Education Student covers
important topics such as:
Band and String Pedagogy
Curriculum and
Instruction Recruitment
and Retention Beginner
and Supplemental Method
Books Technology in the
Classroom Concert
Programming for HS and MS
Marching Band, Jazz Band,
and Percussion Ensemble
Repertoire for Multiple
Ensembles and Soloists
Score Study and Music
Making Creating a Culture
of Excellence Goal
Setting Classroom
Scenarios Being in the
MUSIC and PEOPLE Business
Social/Emotional Learning
Student Leadership DEAI
in the Music Classroom
Quality of Life Work/Life
Balance Tips from Master
Teachers Beyond Student
Teaching and much,
much more! Mary Land
is the Associate
Professor of Music
Education at Western
Michigan University in
Kalamazoo, Michigan.
Scott Rush is the team
lead for the Habits
series published by GIA
and is the former
Director of Bands at
Wando High School.
Like a Child Orchestre d'harmonie - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000752-140 Composed by Andrea...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000752-140
Composed by Andreas
Ludwig Schulte. Score
Only. Gobelin Music
Publications #GOB
000752-140. Published by
Gobelin Music
Publications
(BT.GOB-000752-140).
The young have
the future. This is the
statement made at the
beginning of ‘Like
a Child’ by
Andreas Ludwig
Schulte. The opening
radiates strength and
ambition, but one is also
made to wonder which
direction will be chosen,
which choices will have
to be made. After the
introduction the first
steps on the path of life
are taken, still somewhat
unsteadily (the 3/4th
time used illustrates
this uncertainty).
However, the child has
now set off and will meet
the future with an open
mind, unafraid, even
though experience will
teach it how easily it
can be
hurt. Fortunately, it
is sometimes allowed to
be vulnerable and it
discovers there will
always be someone to
offer shelter,support and
love. (Adagio) The
last part breathes a far
greater independence.
Youth is able to face the
future, it can even take
on the whole world!
Wie de jeugd
heeft, heeft de toekomst.
Met dit statement begint
deze compositie van
Andreas Ludwig Schulte.
Het begin straalt
kracht en ambitie uit.
Maar welke kant gaat het
op, welke keuzes moeten
gemaakt worden? Na de
inleidingworden de eerste
schreden op het levenspad
gezet, het is nog wat
onzeker (de driekwarts
maat voelt een beetje
wankel). Toch gaan we
daarna op pad,
onbevangen, met open
vizier de toekomst
tegemoet al blijken er
toch noch
kwetsbaremomenten te
bestaan. Gelukkig
mogen we dat soms ook
zijn en dan is er altijd
wel iemand bij wie we
geborgenheid, steun en
liefde ontvangen.
(Adagio) Het laatste
deel straalt al veel meer
zelfstandigheid uit. Laat
maarkomen die toekomst,
we kunnen de wereld
aan!
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1125256-140 A Tone Poem fo...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1125256-140
A Tone Poem for Wind
Orchestra. Composed
by Satoshi Yagisawa.
Concert and Contest
Collection CBHA. Concert
Piece. Score Only.
Composed 2012. 28 pages.
De Haske Publications
#DHP 1125256-140.
Published by De Haske
Publications
(BT.DHP-1125256-140).
9x12 inches.
English-German-French-Dut
ch.
Like the
Eagle, We Soar and
Rise was commissioned
by Yuying Secondary
School Concert Band and
Yuying Alumni Association
for the 2010 centenary of
the school’s
foundation. The piece was
named by a friend of the
composer named Steven
Phua, who originally
suggested commissioning a
new piece to Satoshi
Yagisawa. The piece
furthermore takes its
name from the text of the
Yuying Secondary School
song.This composition is
based on three different
concepts: the first one
demonstrates ‘The
founders’ passion
for education’;
the second concept
illustrates
‘Hardship in war
time’; the third
one ‘To the
future’ describes
the inner strength people
find to overcome
struggles. Thispiece
concludes with a fanfare,
which is the sound of
hope that leads to a
brighter future in a
positive direction.The
world premiere of this
piece was conducted by
Faizal Bin Othman, who is
one of the leading
educators in Singapore,
and was performed by the
Yuying Secondary School
Concert Band.
Like the
Eagle, We Soar and
Rise is geschreven in
opdracht van de Yuying
Secondary School Concert
Band en de Yuying Alumni
Association, ter
gelegenheid van het
honderdjarig bestaan van
de school in 2010. Het
werk kreeg zijnnaam van
een vriend van de
componist, Steven Phua,
van wie in eerste
instantie het voorstel
kwam een nieuw werk bij
Satoshi Yagisawa in
opdracht te geven. De
titel is gebaseerd op de
tekst van het schoollied
van de Yuying
SecondarySchool. De
compositie is gestoeld op
drie verschillende
gegevens: het eerste
weerspiegelt de liefde
voor onderwijs van de
oprichters destijds, het
tweede behelst de
ontberingen in
oorlogstijd, en het derde
betreft de kijk op
detoekomst -waarbij de
innerlijke kracht van
mensen helpt
moeilijkheden te
overwinnen. Het werk
eindigt met een fanfare:
de klank van hoop die vol
optimisme een betere
toekomst verkondigt. De
wereldpremière werd
uitgevoerd door de
YuyingSecondary School
Concert Band, onder
leiding van Faizal Bin
Othman, een van de meest
gerenommeerde
muziekpedagogen in
Singapore.
Like
the Eagle, We Soar and
Rise war ein
Kompositionsauftrag des
Blasorchesters der Yuying
Secondary School und des
Yuying-Alumni-Verbandes
(Singapur). Anlass des
Auftrags war das
hundertjährige
Jubiläum der
Schulgründung im Jahr
2010. Der Werktitel
stammt von einem Freund
des Komponisten namens
Steven Phua, der auch die
Idee hatte, ein neues
Stück von Satoshi
Yagiswa schreiben zu
lassen. Außerdem
bezieht sich der Titel
auf den Text des
Schulliedes.Dieses Werk
basiert auf drei
unterschiedlichen
Konzepten: Das erste
spiegelt die Leidenschaft
der Gründer für das
Lehren wider; das zweite
Konzept beschreibt die
Not in Kriegszeiten; das
dritte Konzept mit dem
TitelTo the Future“
(zur Zukunft hingewandt)
handelt von der inneren
Stärke, die Menschen
entwickeln, um
Schwierigkeiten zu
überwinden. Das Werk
endet mit einer Fanfare,
die der Hoffnung auf eine
bessere Zukunft Klang
verleiht.Die Weltpremiere
von Like the Eagle, We
Soar and Rise wurde
von Faizal Bin Othman,
einem der führenden
Lehrbeauftragten von
Singapur, dirigiert. Es
spielte das Blasorchester
der Yuying Secondary
School.
La movimentata
storia di un istituto
scolastico in occasione
dei festeggiamenti per il
suo centenario, ha spinto
Satoshi Yagisawa a
comporre questo brano
basandosi su tre idee ben
distinte: la passione per
lo studio, la sofferenza
durante i periodi di
guerra e la speranza in
un futuro migliore,
simboleggiato dalla
fanfara finale.
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1125256-010 A Tone Poem fo...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1125256-010
A Tone Poem for Wind
Orchestra. Composed
by Satoshi Yagisawa.
Concert and Contest
Collection CBHA. Concert
Piece. Set (Score &
Parts). Composed 2012. De
Haske Publications #DHP
1125256-010. Published by
De Haske Publications
(BT.DHP-1125256-010).
9x12 inches.
English-German-French-Dut
ch.
Like the
Eagle, We Soar and
Rise was commissioned
by Yuying Secondary
School Concert Band and
Yuying Alumni Association
for the 2010 centenary of
the school’s
foundation. The piece was
named by a friend of the
composer named Steven
Phua, who originally
suggested commissioning a
new piece to Satoshi
Yagisawa. The piece
furthermore takes its
name from the text of the
Yuying Secondary School
song.This composition is
based on three different
concepts: the first one
demonstrates ‘The
founders’ passion
for education’;
the second concept
illustrates
‘Hardship in war
time’; the third
one ‘To the
future’ describes
the inner strength people
find to overcome
struggles. Thispiece
concludes with a fanfare,
which is the sound of
hope that leads to a
brighter future in a
positive direction.The
world premiere of this
piece was conducted by
Faizal Bin Othman, who is
one of the leading
educators in Singapore,
and was performed by the
Yuying Secondary School
Concert Band.
Like the
Eagle, We Soar and
Rise is geschreven in
opdracht van de Yuying
Secondary School Concert
Band en de Yuying Alumni
Association, ter
gelegenheid van het
honderdjarig bestaan van
de school in 2010. Het
werk kreeg zijnnaam van
een vriend van de
componist, Steven Phua,
van wie in eerste
instantie het voorstel
kwam een nieuw werk bij
Satoshi Yagisawa in
opdracht te geven. De
titel is gebaseerd op de
tekst van het schoollied
van de Yuying
SecondarySchool. De
compositie is gestoeld op
drie verschillende
gegevens: het eerste
weerspiegelt de liefde
voor onderwijs van de
oprichters destijds, het
tweede behelst de
ontberingen in
oorlogstijd, en het derde
betreft de kijk op
detoekomst -waarbij de
innerlijke kracht van
mensen helpt
moeilijkheden te
overwinnen. Het werk
eindigt met een fanfare:
de klank van hoop die vol
optimisme een betere
toekomst verkondigt. De
wereldpremière werd
uitgevoerd door de
YuyingSecondary School
Concert Band, onder
leiding van Faizal Bin
Othman, een van de meest
gerenommeerde
muziekpedagogen in
Singapore.
Like
the Eagle, We Soar and
Rise war ein
Kompositionsauftrag des
Blasorchesters der Yuying
Secondary School und des
Yuying-Alumni-Verbandes
(Singapur). Anlass des
Auftrags war das
hundertjährige
Jubiläum der
Schulgründung im Jahr
2010. Der Werktitel
stammt von einem Freund
des Komponisten namens
Steven Phua, der auch die
Idee hatte, ein neues
Stück von Satoshi
Yagiswa schreiben zu
lassen. Außerdem
bezieht sich der Titel
auf den Text des
Schulliedes.Dieses Werk
basiert auf drei
unterschiedlichen
Konzepten: Das erste
spiegelt die Leidenschaft
der Gründer für das
Lehren wider; das zweite
Konzept beschreibt die
Not in Kriegszeiten; das
dritte Konzept mit dem
TitelTo the Future“
(zur Zukunft hingewandt)
handelt von der inneren
Stärke, die Menschen
entwickeln, um
Schwierigkeiten zu
überwinden. Das Werk
endet mit einer Fanfare,
die der Hoffnung auf eine
bessere Zukunft Klang
verleiht.Die Weltpremiere
von Like the Eagle, We
Soar and Rise wurde
von Faizal Bin Othman,
einem der führenden
Lehrbeauftragten von
Singapur, dirigiert. Es
spielte das Blasorchester
der Yuying Secondary
School.
La movimentata
storia di un istituto
scolastico in occasione
dei festeggiamenti per il
suo centenario, ha spinto
Satoshi Yagisawa a
comporre questo brano
basandosi su tre idee ben
distinte: la passione per
lo studio, la sofferenza
durante i periodi di
guerra e la speranza in
un futuro migliore,
simboleggiato dalla
fanfara finale.
Composed by
Michael Boo. Folio. Bps.
Set of Score and Parts.
4+4+2+4+4+2+2+3+2+2+2+4+4
+3+2+2+2+3+1+1+2+1+16
pages. Duration 2:20.
Carl Fischer Music
#BPS137. Published by
Carl Fischer Music
(CF.BPS137).
ISBN
9781491158487. UPC:
680160917082. 9 x 12
inches.
Fanfare and
Jubilation is a Grade 1
work that is playable by
any beginning band with
any instrumentation due
to extensive doubling.
The mood is regal and
optimistic and is
non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldnat be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you donat have
access to Timpani or a
timpanist. Bells cover a
wide rangea|the lower
octave sections should
not be played louder just
because theyare low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
donat get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isnat plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldn't be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you don't have
access to Timpani or a
timpanist. Bells cover a
wide range...the lower
octave sections should
not be played louder just
because they're low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don't get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isn't plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion.Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue.Percussion accents
are to played with more
emphasis than
non-accented notes, but
shouldn’t be
perceived as being much
louder. Timpani is only
two pitches and is
optional. The piece will
not suffer at all if you
don’t have access
to Timpani or a
timpanist. Bells cover a
wide range…the
lower octave sections
should not be played
louder just because
they’re low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate.Think of
the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don’t get carried
away and give them more
emphasis than is
musically desired.At m.
21, be careful that the
bass line isn’t
plodding or
over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section.There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future.
Composed by Steve Dunn.
Cps. Full score. 24
pages. Duration 2
minutes, 41 seconds. Carl
Fischer Music #CPS260F.
Published by Carl Fischer
Music (CF.CPS260F).
ISBN 9781491161708.
UPC:
680160920389.
I
compose a piece of music
each year to be premiered
by our annual University
of Mobile High School
Honor Band. A New Horizon
was composed for the 2021
Honor Band during the
most challenging season
in memory. Taking place
during the pandemic, the
Honor Band was held
outdoors under a large,
open tent with distancing
and health protocols in
place. Though not ideal
and full of challenges,
it was a successful,
memorable and thankfully
healthy event. I felt
that it was important to
have a joyful, upbeat,
hopeful piece of music to
introduce to these
students and this was the
result. The title itself
is a reminder that hope
remains and we should
keep our eyes on the
future: a new horizon.
The tempo should remain
bright and steady,
articulations are
critically important and
need to be accurately
crisp. Dynamics are
intended to be dramatic,
so do not be afraid to
overdo - particularly
dynamic swells and subito
changes. I compose a
piece of music each year
to be premiered by our
annual University of
Mobile High School Honor
Band. “A New
Horizon†was
composed for the 2021
Honor Band during the
most challenging season
in memory. Taking place
during the pandemic, the
Honor Band was held
outdoors under a large,
open tent with distancing
and health protocols in
place. Though not ideal
and full of challenges,
it was a successful,
memorable and thankfully
healthy event. I felt
that it was important to
have a joyful, upbeat,
hopeful piece of music to
introduce to these
students and this was the
result. The title itself
is a reminder that hope
remains and we should
keep our eyes on the
future: a new horizon.The
tempo should remain
bright and steady,
articulations are
critically important and
need to be accurately
crisp. Dynamics are
intended to be dramatic,
so do not be afraid to
“overdoâ€
– particularly
dynamic swells and subito
changes.
Composed by Travis
Weller. Yps. Set of Score
and Parts.
16+4+8+8+4+4+6+4+4+4+8+8+
6+6+6+4+6+4+2+4+2+4+24
pages. Duration 2
minutes, 18 seconds. Carl
Fischer Music #YPS252.
Published by Carl Fischer
Music (CF.YPS252).
ISBN 9781491161357.
UPC:
680160919949.
A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed to
the composer's office
door: Today is the
greatest day of your
life, if you want it to
be. Why not look forward
to the Promise on the
Horizon and the
possibilities for
greatness that lie within
it? The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice - do we choose to
let circumstances define
us, or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,Â
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed
to the composer's office
door: “Today is the
greatest day of your
life, if you want it to
be.†Why not look
forward to the Promise on
the Horizon and the
possibilities for
greatness that lie within
it?The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice – do we
choose to let
circumstances define us,
or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. .
SKU: GI.G-317210 Tales of Challenge, Joy and Triumph. Composed by ...(+)
SKU: GI.G-317210
Tales of Challenge,
Joy and Triumph.
Composed by Elizabeth
Peterson. Music
Education. 232 pages. GIA
Publications #317210.
Published by GIA
Publications
(GI.G-317210).
ISBN
9781574631654. UPC:
884088575618.
From
a first-year teacher
whose instruments were
stolen before entering
his building, to a
teacher who received hate
mail before her first
day, to a teacher whose
sensitivity, flexibility
and insight gained her
the respect of her
ensemble in only weeks,
this collection of true
stories from first-year
teachers is a delightful
description of their real
world. In addition, each
chapter includes
discussion questions for
pre-service and young
teachers as they prepare
for their teaching
future. ...extremely
valuable for those just
beginning their careers,
as well as veterans in
the field. ... Sharing
experiences, stories,
problems and solutions
make us all better
teachers. This book does
a tremendous job
identifying the do's and
don'ts. - Anthony J.
Maiello, Professor of
Music, Director of
Instrumental Studies,
George Mason University
Reading, reflecting and
discussing these real
stories will provide
future music teachers
with a clear-sighted view
of the challenges,
expectations, and
successes of novice
teachers. ...an important
book for students and
their teachers who value
the preparation of the
whole music teacher. -
Dr. Mark Fonder,
Professor, Music
Education Department,
Conductor, Ithaca College
Concert Band Your book
will provide valuable
information and insights
into the 'first years' of
teaching and will be a
valuable resource for
those entering the
profession. The
'Questions for
Discussion' at the end of
each chapter are
excellent. Bravo. - Frank
L. Battisti, Conductor
Emeritus, New England
Conservatory Wind
Ensemble Click here for a
YouTube video on The
Music Teacher's First
Year.
For
Children's Choir and
Piano (with Optional
Percussion). Composed
by Alec Roth. Choral
Octavo; Performance Music
Ensemble; Single Titles.
Contemporary; Secular.
Part(s). 16 pages.
Edition Peters
#98-EP73535B. Published
by Edition Peters
(PE.EP73535B).
ISBN
9790577022833. Words by
Vikram Seth.
Earth
and Sky was commissioned
by the BBC for the Proms
2000 season. In keeping
with the millennial
theme, a work presenting
a vision of the future
was requested. Trying to
be helpful, the BBC
provided me with the
predictions of various
pundits, but their ideas
seemed dizzyingly
contradictory. Then the
simple thought struck me
that however varied and
complex the answers, the
big questions will always
remain the same. We may
now have a map of the
human genome, but how to
use the map? How shall I
know where I should go?
How may I see the I
that's me? As a
musician I am hopeful
that, no matter how the
world develops, future
generations will still
come together to dance
and sing and play. The
mysterious power of music
to bind us socially and
inspire us individually
seems to be built into
our genes. So, a song of
questions; a song about
music---these were the
ideas which I took to
Vikram Seth, who had
generously agreed to
write the words for me.
The resulting poem
provided lots of
inspiration. It is
entirely monosyllabic,
enabling considerable
variety of rhythmic
treatment. I love its
permutations and its
imagery of paradox and
inversion and I have
amused myself by playing
similar games with the
musical material. But
there is seriousness as
well as fun---the text's
juxtaposition of the
certainty of death with
the search for purpose in
life achieves great
poignancy when sung by
young voices. (Alec
Roth)
This product
is Printed on Demand and
may take several weeks to
fulfill.
Turbulent Times Flûte, Hautbois, Basson [Conducteur et Parties séparées] Brixton Publications
Composed by Howard J. Buss (1951-). For flute, oboe, and bassoon. The music of T...(+)
Composed by Howard J.
Buss (1951-). For flute,
oboe, and bassoon. The
music of Turbulent Times
suggests the ebb and flow
of the intense
uncertainty felt by many
with the more pleasant
aspects of everyday life.
Following the lyrical and
plaintive introduction,
stormy passages give way
to sections of relative
tranquility,. 21st
Century. Grade 6. Score
and parts. Composed 2009.
Duration 11'. Published
by Brixton Publications
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.