Around The Globe Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 1.5 SKU: BT.DHP-1155576-015 Co...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 1.5
SKU:
BT.DHP-1155576-015
Composed by Robert van
Beringen. De Haske
Flexible Series.
Classical. Set (Score &
Parts). Composed 2015. De
Haske Publications #DHP
1155576-015. Published by
De Haske Publications
(BT.DHP-1155576-015).
English-German-French-
Dutch.
Around
the Globe is an easy
suite for youth band or
ensemble. The work, which
was written for flexible
instrumentation,
increases in difficulty.
On this journey, we
travel through the United
States, Germany, the
Czech Republic and end in
England with Rule
Britannia’ of
course!
Around
the Globe is een
eenvoudige suite voor
jeugdorkest of ensemble.
Het werk heeft een
flexibele instrumentatie
en wordt gaandeweg
moeilijker. Ga mee op
reis naar de Verenigde
Staten, Duitsland en
Tsjechië om tenslotte
te eindigen in Engeland,
met natuurlijk het alom
bekende thema van Rule
Britannia!
Around the
Globe (Rund um die
Welt“) ist eine
leichte Suite, die sich
gut für
Jugendorchester oder
Jugendensembles eignet.
Der Schwierigkeitsgrad
des Werkes, das für
eine flexible Besetzung
komponiert wurde, steigt
durch das Stück
hindurch an.
Währenddessen
durchqueren die Musiker
die USA, Deutschland und
die Tschechische Republik
und beenden ihre
musikalische Reise
schließlich in
Großbritannien,
natürlich mit Rule
Britannia!
Around
the Globe (Intorno al
mondo) è una facile
suite per banda o
ensemble giovanile. Il
lavoro, scritto per una
strumentazione variabile,
presenta una difficolt
graduale. Con questo
viaggio, ci muoveremo
attraverso gli Stati
Uniti, la Germania, la
Repubblica Ceca e alla
fine l’Inghilterra
con Rule Britannia
ovviamente!
Solo piano - Grade 1; Late Elementary SKU: FJ.FJH2370 1. 10 Sol...(+)
Solo piano - Grade 1;
Late Elementary
SKU:
FJ.FJH2370
1.
10 Solos Inspired by
Intermational Dances.
Composed by Wynn-Anne
Rossi. Piano Collection;
Piano Resources; Piano
Supplemental. The FJH
Composer Library. Form:
Theme. Living Composer;
Multicultural; Recital.
Book. The FJH Music
Company Inc #98-FJH2370.
Published by The FJH
Music Company Inc
(FJ.FJH2370).
ISBN
9781619283534. UPC:
241444441176.
English.
A new,
four-book series by
composer Wynn-Anne Rossi.
The Dancing with the
World series is inspired
by international dance,
rhythms and melodies,
uniting performers in the
celebration of movement.
A brief introduction
related to the background
of each dance is included
for every piece, and the
music can be used as the
basis of a themed recital
to celebrate the history
and cultural significance
of each dance. Book 1 is
arranged at the
Elementary/Late
Elementary level and
includes dances from
Spain, Egypt (Raqs
Shari), China, Romania
(Alunelul), Germany,
Tanzania, Kenya, the
United States, India,
Cuba and Japan.
Arranged by Chris Sharp. For concert band. FJH Concert Band. Full set (score and...(+)
Arranged by Chris Sharp.
For concert band. FJH
Concert Band. Full set
(score and parts). Score
only also available:
B1486S. Grade 3.5. Score
and parts. Duration 6
minutes, 30 seconds.
Published by The FJH
Music Company Inc
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin
SKU:
CF.MXE219
Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219).
ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches.
Composed by Doris Gazda.
Edited by Amy Rosen. Carl
Fischer Young String
Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
16+4+16+10+10+4+10+12
pages. Carl Fischer Music
#YAS10. Published by Carl
Fischer Music (CF.YAS10).
ISBN 9780825848261.
UPC: 798408048266. 8.5 X
11 inches. Key: D
major.
When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a
loudly emphasized honking
noise, the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody ofA Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course,A Roadrunner
Rally ends with a
loudly emphasized honking
noise, theA beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody ofA Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course,A Roadrunner
Rally ends with a
loudly emphasized honking
noise, theA beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a
loudly emphasized honking
noise, the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind you of
the sight of a roadrunner
traveling along at
breakneck speed. A crisp
spiccato accompanied by
pizzicato in the cello
and bass paints the
picture of the bird
running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner Rally
ends with a loudly
emphasized honking noise,
the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners.The repeated
notes in the opening
melody of Roadrunner
Rally will remind you of
the sight of a roadrunner
traveling along at
breakneck speed. A crisp
spiccato accompanied by
pizzicato in the cello
and bass paints the
picture of the bird
running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a loudly
emphasized honking noise,
the beep that we
associate with the
humorous picture of the
roadrunner.
Composed by Doris Gazda.
Edited by Amy Rosen.
FS-SWs. Carl Fischer
Concert String Orchestra
Series. Score and Parts.
With Standard notation.
20+24+24+6+15+15+15
pages. Carl Fischer Music
#CAS7. Published by Carl
Fischer Music (CF.CAS7).
ISBN 9780825847578.
UPC: 798408047573. 8.5 X
11 inches. Key: D
major.
When you
have the good fortune to
visit Red Rock country in
the southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock Rag
is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody.A Red Rock
RagA is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody.A Red Rock
RagA is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock Rag
is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock Rag is
challenging stylistically
and rhythmically. It
would be appropriate to
study both the ragtime
and swing styles while
working on it. When
you have the good fortune
to visit Red Rock country
in the southwestern
United States, you will
all at once feel that
majesty and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista.The Red
Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red
color.Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock
Rag is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it.
By Frances Irwin. For Accordion (Keyboard). Solos. World Music. Level: Beginning...(+)
By Frances Irwin. For
Accordion (Keyboard).
Solos. World Music.
Level:
Beginning-Intermediate.
Book. Size 8.5x11. 106
pages. Published by Mel
Bay Publications, Inc.
Composed by Brazilian
Folk Song. Arranged by
Eduardo Lakschevitz Elisa
Dekaney. Fold.
Performance Score. 12
pages. Duration 2
minutes, 28 seconds. Carl
Fischer Music #CM9602.
Published by Carl Fischer
Music (CF.CM9602).
ISBN 9781491154243.
UPC: 680160912742. 6.875
x 10.5 inches. Key: Gb
major. Portuguese.
Brazilian Folk
Song.
Composed by Robert Wadsworth Lowry. Arranged by Stephen Caracciolo. For TTB/TBB/...(+)
Composed by Robert
Wadsworth Lowry. Arranged
by Stephen Caracciolo.
For TTB/TBB/TTBB divisi.
Secular, 21st Century.
Medium. Octavo. Text
Language: English.
Published by Galaxy Music
Corporation
Solo Piano and Jazz
Band 2-Piano Score and
Critical Report.
Composed by George
Gershwin. Edited by Ryan
Paul Bañ and agale.
Edition Schott.
Classical. Softcover. 110
pages. Duration 1020
seconds. Schott Music
#GIGE2102. Published by
Schott Music
(HL.49047271).
Full Score and Critical Report Jazz Ensemble; Piano (FULL SCORE) SKU: HL.4904...(+)
Full Score and Critical
Report Jazz Ensemble;
Piano (FULL SCORE)
SKU: HL.49047270
Solo Piano and Jazz
Band Full Score.
Composed by George
Gershwin. Edited by Ryan
Paul Bañ and agale.
Edition Schott. Jazz.
Softcover. 112 pages.
Duration 1020 seconds.
Schott Music #GIGE2101.
Published by Schott Music
(HL.49047270).
Concert Band/Harmonie - Grade 6 SKU: BT.AMP-422-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.AMP-422-140
Composed by Philip
Sparke. Elite Series.
Score Only. Composed
2015. Anglo Music Press
#AMP 422-140. Published
by Anglo Music Press
(BT.AMP-422-140).
English-German-French-
Dutch.
Three
Washington Statues
was commissioned by the
United States Army Band
â??Pershings Ownâ?,
led by Colonel Thomas H.
Palmatier. Washington
D.C. contains some of the
worldâ??s most iconic
monuments, memorials and
statues. Philip Sparke
has chosenthree of these
as the inspiration for
this piece: â??The
Lincoln Memorialâ?? in
the form of a Greek Doric
temple in which the
composer depicts the
grandeur of this
monument; â??The Martin
Luther King, Jr.
Memorialâ?? on which
steps the iconic speech
â??I havea dreamâ?? was
given - the music is both
reverential as well as
powerful referring to
Martin Luther Kingsâ??
speech; and the
â??Encoreâ?? statue in
memory of the world
famousAfrican-American
composer, pianist and
bandleader Duke
Ellington. In this
finalmovement, Philip
Sparke catches the
virtuosic, energetic and
unique dynamism of
Ellingtonsâ??
music.
Three
Washington Statues is
geschreven in opdracht
van de United States Army
Band â??Pershingâ??s
Ownâ?? en de leider van
dit orkest, kolonel
Thomas H. Palmatier.
Washington D.C. is het
decor van een aantal van
de meest iconische
monumenten,gedenktekens
en standbeelden van de
VS. Componist Philip
Sparke heeft er drie
uitgekozen als inspiratie
voor dit werk: The
Lincoln Memorial, in de
vorm van een Griekse
Dorische tempel, waarin
de grandeur van het
monument wordt verklankt;
het MartinLuther King Jr.
Memorial, het gebouw waar
de iconische toespraak
â??I have a dreamâ??
ooit weerklonk de sfeer
is respectvol en
eerbiedig, maar de muziek
weerspiegelt tevens de
karakteristiekekracht die
ervan uitgaat; en het
beeld â??Encoreâ??
vancomponist, pianist en
bandleider Duke Ellington
in dit laatste deel geeft
Philip Sparke de
virtuoze, energieke,
unieke en dynamische
stijl van Ellingtons
muziek
weer.
Three
Washington Statues
wurde von der United
States Army Band
Pershings Ownâ??, die
von Oberst Thomas H.
Palmatier geleitet wird,
in Auftrag gegeben.
Washington D.C. besitzt
einige der
weltberühmtesten
Bauwerke, Denkmäler
und Statuen. PhilipSparke
hat drei von diesen als
Inspiration für dieses
Stück genommen. So
beschreibt er die
Erhabenheit des Lincoln
Memorialâ??, das mit
seinen dorischen
Säulen in Form eines
griechischen Tempels
erbaut wurde. Das Martin
Luther King, Jr.
Memorialâ??erinnert an
die legendäre Rede
Martin Luther Kings I
have a dreamâ?? (Ich
habe einen Traumâ??).
Die ehrfurchtsvolle und
zugleich kraftvolle Musik
ist ein Tribut an diese
Rede. Die
StatueEncoreâ?? erinnert
an den weltbekannten
afroamerikanischenKomponi
sten, Pianisten und
Bandleader Duke
Ellington. In diesem
letzten Satz fängt
Philip Sparke die
virtuose, energiegeladene
und einzigartige Dynamik
von Duke Ellingtons Musik
ein.
Co
mmissionato dalla banda
dellâ??esercito
statunitense, condotta
dal colonnello Thomas H.
Palmatier, Three
Washington Statues
è un brano dedicato ad
alcuni dei più noti e
iconici monumenti
americani mai realizzati.
Philip Sparke ha
scelto,difatti, di
musicare la stentoreit
del Lincoln Memorial,
della statua di Martin
Luther King di West
Potomac Park e di quella
dedicata al gigante della
musica afro-americana
Duke Ellington.
Composed
by Richard Summers. Sws.
Cps. Full score. 24
pages. Duration 3
minutes, 55 seconds. Carl
Fischer Music #CPS240F.
Published by Carl Fischer
Music (CF.CPS240F).
ISBN 9781491157879.
UPC: 680160916474. 9 x 12
inches.
Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
itas like planting a seed
that starts to grow and
develop. I got a snippet
of a western idea and
then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue is
called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The 3,000
mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its conclusion.
Divisi parts that are
optional can be utilized
to add a richer sound.
Feel free to experiment
with octave changes in
the woodwinds in the
fuller sections, if
students are comfortable
playing up an octave.
Always be aware of the
musicality, blend, and
especially legato playing
when
required. Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
it's like planting a seed
that starts to grow and
develop. I got a snippet
of a western idea and
then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue is
called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The 3,000
mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its conclusion.
Divisi parts that are
optional can be utilized
to add a richer sound.
Feel free to experiment
with octave changes in
the woodwinds in the
fuller sections, if
students are comfortable
playing up an octave.
Always be aware of the
musicality, blend, and
especially legato playing
when
required. Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
it’s like planting
a seed that starts to
grow and develop. I got a
snippet of a western idea
and then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue
is called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The
3,000 mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.Â
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its
conclusion. Divisi
parts that are optional
can be utilized to add a
richer sound. Feel free
to experiment with octave
changes in the woodwinds
in the fuller sections,
if students are
comfortable playing up an
octave. Always be aware
of the musicality, blend,
and especially legato
playing when
required.
SKU: GI.G-DVD-898 Streaming Video. Composed by Lorna Zemke. First ...(+)
SKU: GI.G-DVD-898
Streaming Video.
Composed by Lorna Zemke.
First Steps in Music.
Music Education. DVD. GIA
Publications #898.
Published by GIA
Publications
(GI.G-DVD-898).
Including an
interview by John M.
Feierabend How do you
best engage musically
with kids from birth to
age five? On this
remarkable DVD, Sr. Lorna
Zemke—one of the
most beloved and admired
early childhood music
educators in the United
States—shares her
practical wisdom and
knowledge, gained over
decades of classroom
experience. Sr. Lorna
shares props, toys, and
concepts that are a true
treasure trove for anyone
working with young
children. Her ideas
literally seem to spill
out of this 2.5-hour DVD
and can be immediately
put to use in any early
childhood classroom.Â
Through it all, Sr.
Lorna’s wonderful
spirit is certain to
inspire those working
with young children for
many generations to come.
Sr. Lorna Zemke of Silver
Lake College is widely
recognized as a true
pioneer of music
education in the United
States. She was one
of the first to introduce
the music education
approach of Zoltán
Kodály to an American
audience, and she
established the first
undergraduate Kodály
music education program
in the United States.Â
Sr. Lorna’s early
childhood and Kodály
music education courses
have attracted legions of
specialists from around
the country and the
world, and she is much
sought after as a speaker
and clinician. This is
her first DVD with GIA
Publications, Inc.
Life Chorale SSAATTBB SSAATTBB, Piano Carl Fischer
Choral SSAATTBB choir, Piano (for rehearsal) SKU: CF.CM9738 Composed by J...(+)
Choral SSAATTBB choir,
Piano (for rehearsal)
SKU: CF.CM9738
Composed by Jacob
Narverud. 16 pages.
Duration 3 minutes. Carl
Fischer Music #CM9738.
Published by Carl Fischer
Music (CF.CM9738).
ISBN 9781491161180.
UPC: 680160919765. Key:
Eb major. English. Barter
by Sara
Teasdale.
Life has
loveliness to sell, All
beautiful and splendid
things, Blue waves
whitened on a cliff,
Soaring fire that sways
and sings, And children's
faces looking up Holding
wonder in a cup.
Life has loveliness to
sell, Music like a curve
of gold, Scent of pine
trees in the rain, Eyes
that love you, arms that
hold, And for your
spirit's still delight,
Holy thoughts that star
the night. Spend
all you have for
loveliness, Buy it and
never count the cost; For
one white singing hour of
peace Count many a year
of strife well lost, And
for a breath of ecstacy
Give all you have been,
or could be. --Barter
from Love Songs (1918) by
Sara Teasdale Sara
Teasdale (1884-1933) was
an American poet whose
short, personal lyrics
are noted for their
classical simplicity and
quiet intensity. Teasdale
was born in St. Louis,
Missouri and traveled to
Chicago as a young woman,
where she grew acquainted
with Harriet Monroe and
the literary circle
around Poetry. Teasdale
wrote seven books of
poetry in her lifetime
and received public
admiration for her
well-crafted lyrical
poetry which centered on
a woman's changing
perspectives of beauty,
love, life, and death.
Jacob Narverud (b. 1986)
is an American composer,
arranger, and conductor.
A native Kansan, Jacob is
the Founder/Artistic
Director of the Tallgrass
Chamber Choir, a
professional ensemble of
musicians from across the
Great Plains. Dr.
Narverud is a frequent
guest lecturer at
universities and
conferences as well as an
active guest
conductor/clinician for
choral festivals and
all-state choirs across
the United States. Many
of his compositions are
publisher best sellers
and are performed
worldwide by choirs of
all levels. Website:
jnarverud.com YouTube
& Spotify:
jacobnarverud. Life
has loveliness to sell,
All beautiful and
splendid things, Blue
waves whitened on a
cliff, Soaring fire that
sways and sings, And
children's faces looking
up Holding wonder like a
cup. Life has
loveliness to sell, Music
like a curve of gold,
Scent of pine trees in
the rain, Eyes that love
you, arms that hold, And
for your spirit's still
delight, Holy thoughts
that star the night.
Spend all you have
for loveliness, Buy it
and never count the cost;
For one white singing
hour of peace Count many
a year of strife well
lost, And for a breath of
ecstacy Give all you have
been, or could be.
--Barter from Love Songs
(1918) by Sara Teasdale
Sara Teasdale (1884-1933)
was an American poet
whose short, personal
lyrics are noted for
their classical
simplicity and quiet
intensity. Teasdale was
born in St. Louis,
Missouri and traveled to
Chicago as a young woman,
where she grew acquainted
with Harriet Monroe and
the literary circle
around Poetry. Teasdale
wrote seven books of
poetry in her lifetime
and received public
admiration for her
well-crafted lyrical
poetry which centered on
a woman's changing
perspectives of beauty,
love, life, and death.
Jacob Narverud (b. 1986)
is an American composer,
arranger, and conductor.
A native Kansan, Jacob is
the Founder/Artistic
Director of the Tallgrass
Chamber Choir, a
professional ensemble of
musicians from across the
Great Plains. Dr.
Narverud is a frequent
guest lecturer at
universities and
conferences as well as an
active guest
conductor/clinician for
choral festivals and
all-state choirs across
the United States. Many
of his compositions are
publisher best sellers
and are performed
worldwide by choirs of
all levels. Website:
jnarverud.com YouTube
& Spotify:
jacobnarverud. Life
has loveliness to
sell,All beautiful and
splendid things,Blue
waves whitened on a
cliff,Soaring fire that
sways and sings,And
children's faces looking
upHolding wonder like a
cup. Life has
loveliness to sell,Music
like a curve of
gold,Scent of pine trees
in the rain,Eyes that
love you, arms that
hold,And for your
spirit's still
delight,Holy thoughts
that star the
night. Spend all you
have for loveliness,Buy
it and never count the
cost;For one white
singing hour of
peaceCount many a year of
strife well lost,And for
a breath of ecstacyGive
all you have been, or
could
be.     Â
     Â
    Â
 —“Barter
†from Love Songs
(1918) by Sara
Teasdale Sara Teasdale
(1884-1933) was an
American poet whose
short, personal lyrics
are noted for their
classical simplicity and
quiet intensity. Teasdale
was born in St. Louis,
Missouri and traveled to
Chicago as a young woman,
where she grew acquainted
with Harriet Monroe and
the literary circle
around Poetry. Teasdale
wrote seven books of
poetry in her lifetime
and received public
admiration for her
well-crafted lyrical
poetry which centered on
a woman’s changing
perspectives of beauty,
love, life, and
death.Jacob Narverud (b.
1986) is an American
composer, arranger, and
conductor. A native
Kansan, Jacob is the
Founder/Artistic Director
of the Tallgrass Chamber
Choir, a professional
ensemble of musicians
from across the Great
Plains. Dr. Narverud is a
frequent guest lecturer
at universities and
conferences as well as an
active guest
conductor/clinician for
choral festivals and
all-state choirs across
the United States. Many
of his compositions are
publisher best sellers
and are performed
worldwide by choirs of
all levels.Website:
jnarverud.com  Â
    Â
YouTube & Spotify:
jacobnarverud.
SKU: GI.G-317249 Composed by Laurie Lake and Russ Girsberger. Music Educa...(+)
SKU: GI.G-317249
Composed by Laurie Lake
and Russ Girsberger.
Music Education. 186
pages. GIA Publications
#317249. Published by GIA
Publications
(GI.G-317249).
ISBN
9781574631760. UPC:
884088662363.
The
music performance library
is the heart of a musical
ensemble, supplying music
to performers and
information to an entire
organization. This
essential resource
provides step-by-step
directions on how to
purchase and rent music,
catalog new works,
distribute and collect
parts, store and preserve
music, mark bowings,
correct errata, locate
and choose editions,
prepare programs,
communicate efficiently,
and prepare manuscripts.
There is valuable
information here for all
musicians - music
directors, conductors,
student librarians,
community volunteers, and
professional performance
librarians - written by
librarians from the
following organizations:
Alabama Symphony ·
Boosey & Hawkes ·
Boston Symphony Orchestra
· Cleveland Orchestra
· Dallas Symphony
Orchestra · European
American Music ·
Finnish Music Information
Centre · Florida
Orchestra · Fort Worth
Symphony Orchestra ·
Glimmerglass Opera ·
Indianapolis Symphony
Orchestra ·
Interlochen Center for
the Arts · Jazz at
Lincoln Center ·
Juilliard School ·
Kansas City Symphony ·
Los Angeles Philharmonic
· McGill University
· Metropolitan Opera
· Milwaukee Symphony
· Minnesota Orchestra
· National Symphony
Orchestra · New
England Conservatory ·
New York Philharmonic
· Philadelphia
Orchestra · San Diego
Symphony · San
Francisco Ballet · San
Francisco Symphony ·
Seattle Symphony
Orchestra · United
States Army Field Band
· United States Marine
Band · United States
Military Academy
Band.
Choral (SATB) SKU: HL.2050295 Edited by Jay Rouse and Randy Vader. Praise...(+)
Choral (SATB)
SKU:
HL.2050295
Edited by
Jay Rouse and Randy
Vader. Praise Gathering
Choral. Patriotic.
Softcover. 136 pages.
Duration 3120 seconds.
PraiseGathering #A08445.
Published by
PraiseGathering
(HL.2050295).
UPC:
797242938795.
6.75x10.5x0.299
inches.
America has
often been referred to as
the great melting pot of
nationalities and
cultures. That is true to
a certain extent.
Americans have not
relinquished the unique
character of their
individual heritage -
they have, however,
acknowledged those things
that unite all of us as a
people, a nation
dedicated to liberty and
justice for all. The one
thing we share that is
most obvious is this
particular area of the
planet Earth, located in
the western hemisphere,
on the North American
Continent. This is a
landmass that is bordered
east and west by the
Atlantic and Pacific
oceans and north and
south by Canada and
Mexico. In addition, we
have two states that are
thousands of miles
removed from these
borders but very much a
part of these states -
the United States of
America. This is a
celebration of our
country - our dwelling
place - our Homeland. Our
Homeland - this is the
place where we pledge the
same flag, protect and
defend the same
Constitution, breathe the
same air, cherish the
future of our children,
and stand constant vigil
to defend the rights that
compelled our founders to
form a more perfect
Union. This is the place
our ancestors fought for,
and also the place where
people still gather the
courage to come and be a
part of the greatest
experiment in freedom in
human history.America - a
land uniquely blessed of
God - a staggering mosaic
of natural beauty and
resources. America -
sweet land of Liberty.
America - residence for
those who dared to dream
the dream, pay the price,
share the costs. . . of
living in the
HOMELAND!
SKU: GI.G-7961 Helping Others Find Their Voice. Composed by Tim Sh...(+)
SKU: GI.G-7961
Helping Others Find
Their Voice. Composed
by Tim Sharp. Music
Education. Book. 173
pages. GIA Publications
#7961. Published by GIA
Publications (GI.G-7961).
Composed by
Richard Summers. Folio.
Cps. Set of Score and
Parts.
16+4+8+8+8+4+4+4+4+4+4+8+
8+8+4+4+6+6+6+4+8+2+2+4+2
+24 pages. Duration 3
minutes, 55 seconds. Carl
Fischer Music #CPS240.
Published by Carl Fischer
Music (CF.CPS240).
ISBN 9781491157862.
UPC: 680160916467. 9 x 12
inches.
Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
itas like planting a seed
that starts to grow and
develop. I got a snippet
of a western idea and
then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue is
called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The 3,000
mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its conclusion.
Divisi parts that are
optional can be utilized
to add a richer sound.
Feel free to experiment
with octave changes in
the woodwinds in the
fuller sections, if
students are comfortable
playing up an octave.
Always be aware of the
musicality, blend, and
especially legato playing
when
required. Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
it's like planting a seed
that starts to grow and
develop. I got a snippet
of a western idea and
then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue is
called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The 3,000
mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its conclusion.
Divisi parts that are
optional can be utilized
to add a richer sound.
Feel free to experiment
with octave changes in
the woodwinds in the
fuller sections, if
students are comfortable
playing up an octave.
Always be aware of the
musicality, blend, and
especially legato playing
when
required. Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
it’s like planting
a seed that starts to
grow and develop. I got a
snippet of a western idea
and then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue
is called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The
3,000 mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.Â
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its
conclusion. Divisi
parts that are optional
can be utilized to add a
richer sound. Feel free
to experiment with octave
changes in the woodwinds
in the fuller sections,
if students are
comfortable playing up an
octave. Always be aware
of the musicality, blend,
and especially legato
playing when
required.
Composed by Vernal
Pasternak. Concert Band.
Extra full score.
Composed 2019. RWS Music
Company #RWS-1918-01.
Published by RWS Music
Company
(AP.98-RWS191801).
Courage
Undaunted is inspired by
the historic westward
expansion of the United
States of America. John
Pasternak’s work
for the concert band
musically depicts the
fateful journeys of
countless pioneers
throughout the history of
the United States. This
new contribution to the
concert band repertoire
will find its place on
many contest lists.
O Christmas Tree Fanfare [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Fanfare Band - Grade 3 SKU: BT.GOB-000854-020 Arranged by David Well. Set...(+)
Fanfare Band - Grade 3
SKU:
BT.GOB-000854-020
Arranged by David Well.
Set (Score & Parts).
Gobelin Music
Publications #GOB
000854-020. Published by
Gobelin Music
Publications
(BT.GOB-000854-020).
The tradition
of the Christmas tree in
Western Europe dates back
to a time long before any
Christianization had
taken place. During the
severely cold winter
nights, so it was
believed, evil spirits
tried to ‘kill’
nature. Needle-leaved
trees were the only ones
which kept their green
colour throughout the
year, and therefore
became symbols of
immortality. These
‘living’ trees, said
to be the work of benign
spirits, were brought
into people’s houses to
ward off evil,
life-threatening powers.
In the 14th century
people first started to
decorate Christmas trees.
It was a pagan custom,
originated by the
inhabitants of Alsace.
This custom was taken
over by the Church in
thecourse of the 15th and
16th century. At first
the decoration consisted
mainly of edibles, such
as apples and wafers, but
later small presents were
added. Legend has it that
the reformer Martin
Luther was the first
person to decorate a
Christmas tree with
candles. The flickering
candle flames were meant
to create the image of a
starry sky in which
Christ’s apparition
could be recognized. The
German organ-player Ernst
Anschütz from Leipzig
was the first person to
notate the song ‘O
Tannenbaum’, the melody
being a well-known folk
song. Next to ‘Stille
Nacht’ ‘O
Tannenbaum’ is the most
famous German Christmas
song, now known
throughout the world. In
the United States of
America the melody of
‘O Tannenbaum’ has
even been used in four
States (among which the
State of Maryland) for
their State song. In
David Well’s
arrangement the song is
first heard as many of us
know it. After this
introduction, however, it
is transformed into a
solid rock version, and
the beat has been
changed. In the second
part the familiar
three-four time is back,
but here the rhythm is
different from the
original. After the
richly ornamented rock
beat the basic theme can
be heard once again and
the composition is
concluded in a festive
manner.
De
traditie van de
‘Kerstboom’ gaat in
West-Europa terug tot ver
voordat er van enige
kerstening sprake was.
Gedurende de koude
strenge winters dacht men
dat kwade geesten de
natuur ‘vermoordde’.
Naaldbomen behielden als
enige hungroene kleur en
werden daardoor symbolen
van onsterflijkheid. Deze
‘levende’ bomen, het
werk van goede machten,
werden in huis gehaald om
kwade geesten en
levensbedreigende
krachten buitenshuis te
houden. Van
‘versierde’
kerstbomenwas het eerst
sprake in de 14e eeuw.
Het was een heidens
gebruik, dat in deze
periode in de Elzas
voorkwam. Tijdens de 15e
en 16e eeuw werd het
versieren van de
kerstboom door de kerk
overgenomen. De
versiering bestond in
eersteinstantie vooral
uit etenswaar, als appels
en koekjes. Later ging
men ook kleine cadeautjes
als versiering gebruiken.
Er wordt beweerd dat
Martin Luther, de
hervormer, als eerste
kaarsen in een kerstboom
deed. De
fonkelendevlammetjes
creëerden een
sterrenhemel waarin men
Christus’ verschijning
leek te herkennen. De
Duitse organist Ernst
Anschütz uit Leipzig,
was de eerste die het
lied ‘O Tannenbaum’
op schrift stelde. De
melodie was een bekend
volkswijsje.Naast
‘Stille Nacht’ is
‘O Tannenbaum’ het
meest bekende kerstlied
dat vanuit Duitsland de
hele wereld veroverde. De
melodie van ‘O
Tannenbaum’ wordt zelfs
in de Verenigde Staten
van Amerika in vier
verschillende staten(o.a.
Maryland) als volkslied
gebruikt. In het
arrangement van David
Well hoort u het lied
eerst op de manier zoals
velen het kennen. Na deze
inleiding klinkt een
stevige rock-versie en is
de maatsoort niet meer de
gebruikelijke.Het
tussendeel is weer in de
vertrouwde
driekwarts-maatsoort.
Hier is echter de ritmiek
in een ander jasje
gestoken. Na de rijkelijk
met slingers versierde
rock-beat klinkt nog
één keer het
oorspronkelijke thema om
daarna feestelijk.
Medal of Freedom Orchestre d'harmonie [Conducteur] - Facile Belwin
Concert Band - Grade 2 SKU: AP.39522S Concert March. Composed by R...(+)
Concert Band - Grade 2
SKU: AP.39522S
Concert March.
Composed by Roland
Barrett. Concert Band.
Belwin Young Band. Form:
March. Patriotic;
programmatic. Score only.
24 pages. Duration 2:00.
Belwin Music #00-39522S.
Published by Belwin Music
(AP.39522S).
UPC:
038081452821.
English.
The
Presidential Medal of
Freedom is the highest
civilian award in the
United States. Bestowed
by the President, the
award recognizes those
individuals who have made
an especially meritorious
contribution to the
security or national
interests of the United
States, world peace,
cultural or other
significant public or
private endeavors. This
original march pays
tribute to all past,
present, and future
winners of the award, and
salutes their numerous
achievements and
contributions. In a
contemporary two-four
setting, this glorious
composition is bold and
bright. (2:00) This title
is available in MakeMusic
Cloud.
Harrison's Dream Orchestre d'harmonie [Conducteur et Parties séparées] Alfred Publishing
By Peter Graham. By Peter Graham. For Concert Band. Concert Band. Donald Hunsber...(+)
By Peter Graham. By Peter
Graham. For Concert Band.
Concert Band. Donald
Hunsberger Wind Library.
Level: 6 (Difficult)
(grade 6). Conductor
Score and Parts.
Published by Alfred
Publishing.