Piano and Vocal

SKU: BT.MVH10004051

Book with CD. 148 pages. Musikverlag Monika Hildner #MVH10004051. Published by Musikverlag Monika Hildner (BT.MVH10004051).

ISBN 9783932839436.

T his must-have collection contains the most beautiful and best known German traditional ‘Volkslieder’ . With extra large text and practical spiral binding, this book is accompanied by 2 CDs featuring each song playedand sung for up to 4 verses (2.5 hrs play time).

The pieces in this collection are in easy arrangements with melody line, lyrics and chords.

Das Standard-Liederbuch des deutschen Volksliedes in großer Schrift und mit praktischer Spiralbindung. Dazu gibt es 80 wunderschöne Aufnahmen auf 2 CDs, jeweils 2 bis 4 Strophen werden dabei pro Lied gesungen, über 2,5 Stunden Gesamtspielzeit. Zum Hören, Singen, Mitsingen und Musizieren für Piano, Gitarre, Keyboard, Flöte oder Akkordeon. Die einzelnen Titel sind jeweils arrangiert mit einfacher Melodiezeile, den Begleit-Akkorden und Text mit allen Versen zum Spielen mit Keyboard und Gitarre sowie zur Gesangsbegleitung.

Concert Band/Harmonie - Grade 4

SKU: BT.AMP-455-010

Composed by Gustav Holst. Arranged by Philip Sparke. Anglo Music Midway Series. Classical. Set (Score & Parts). Composed 2017. Anglo Music Press #AMP 455-010. Published by Anglo Music Press (BT.AMP-455-010).

English-German-French- Dutch.

Between 1905 and 1934, Gustav Holst was Director of Music at St Paul’s Girls School in Brook Green, London. St Paul’s Suite, written for the school’s string orchestra, was premiered there in 1913 and consists of four movements: an energetic Jig in 6/8 and 9/8, Ostinato, based on a simple 4-note theme, Intermezzo, an energetic and rhythmic dance and Finale, adapted from the Second Suite in F in which Holst brilliantly combines The Dargason and The English Dancing Master, with the traditional melody, Greensleeves.
< br>Tussen 1905 en 1934 was Gustav Holst hoofddocent muziek aan de St Paul’s Girls School in Brook Green, Londen. St. Paul’s Suite, geschreven voor het strijkorkest van de school, werd in 1913 in première gebracht. Het werk bestaat uit vier delen: een energieke Jig in 6/8 en 9/8; een Ostinato, gebaseerd op en simpel motief van vier noten; een levendig, ritmische dans in het Intermezzo; en de Finale, een bewerking van de Second Suite in F, waarin Holst op briljante wijze The Dargason uit The English Dancing Master combineert met de traditionele melodie Greensleeves.
< br>Gustav Holst war von 1905 bis 1934 Musikdirektor an der St Paul’s Girls’ School in Brook Green/London. Er hat die St Paul’s Suite für das Streichorchester der Schule komponiert, und sie wurde dort 1913 uraufgeführt. Die Suite besteht aus vier Sätzen: einer schwungvollen Jig im 6/8- und 9/8-Takt, dem Ostinato, das auf einem aus vier Noten bestehenden Thema basiert, dem Intermezzo, einem schwungvollen, rhythmischen Tanz, und dem Finale, das aus der Second Suite in F übernommen wurde und in dem Holst auf meisterhafte Weise The Dargason aus der Sammlung The English Dancing Master mit der traditionellen MelodieGreensleeves kombiniert.

Gustav Holst était directeur de musique de 1905 et 1934 la St Paul’s Girls’ School Brook Green, Londres. La St Paul’s Suite, une composition pour l’orchestre cordes de l’école, y connut sa première en 1913 et comprend quatre mouvements : une Jig énergique en 6/8 et 9/8, Ostinato, basé sur un thème simple de quatre notes, Intermezzo, une danse dynamique et rythmique, et Finale, adapté de la Second Suite in F dans laquelle Holst combine avec brio The Dargason, tiré du English Dancing Master, avec la mélodie traditionnelle, Greensleeves.
< br>Tra il 1905 e il 1934 Gustav Holst fu direttore musicale della scuola femminile di St Paul a Brook Green Londra. Qui la St Paul’s Suite, scritta per l’orchestra d’archi scolastica, fu eseguita in prima esecuzione nel 1913. Essa si compone di 4 movimenti: una Giga energica in 6/8 e 9/8, un Ostinato basato su un semplice tema di quattro note, un Intermezzo, danza vivace e ritmica e un Finale, adattamento dalla Seconda Suite in Fa nella quale Holst combina brillantemente The Dargason e The English Dancing Master con la tradizionale melodia Greensleeves.

String Quartet, Accordion

SKU: BT.WHKP01684

Composed by Hans Abrahamsen. Classical. Score Only. 32 pages. Edition Wilhelm Hansen #WHKP01684. Published by Edition Wilhelm Hansen (BT.WHKP01684).

English.

Three Little Nocturnes was composed by Hans Abrahamsen in 2005. Commissioned by the Cikada Ensemble, with support from NOMUS, and written for Frode Haltli and the Cikada String Quartet. Programme Note: In the first nocturne a slow, falling music emerges on an irregular pulse, filled with high harmonics in the strings. The second nocturne is fast and unrestful music, with a lot of passion, which in a moment runs into a glimpse of a tango. In this movement the accordion is employed in its traditional fashion, using the chord bass, with its “oom-pah-pah” standard chords. The third nocturne is again slow, indeed very slow, and it has German tempo and expression markings. Thepiece ends with a lullaby in the accordion, played with an unusual technique, imitating the string portato. This is accompanied by high harmonics in the strings, while the first violin slowly and softly plays a melody from the second nocturne. Hans Abrahamsen.

Flute - intermediate

SKU: BT.DHP-1002329-401

Arranged by Robert van Beringen. Educational Tool. Book Only. Composed 2000. 44 pages. De Haske Publications #DHP 1002329-401. Published by De Haske Publications (BT.DHP-1002329-401).

ISBN 9789043112109. English-German-French-Dut ch.

This is a great value collection of 24 pop songs and traditional melodies arranged for unaccompanied solo. Every style of pop music is included with songs by Britney Spears (Sometimes and Born To Make You Happy), Queen (Crazy Little Thing Called Love), Lou Bega (Mambo No 5), Brian Adams (Everything I Do), Elvis (Youâ??ll Never Walk Alone) and many more.

Inhoud: Mambo No. 5 â?¢ Sometimes â?¢ Vive lâ??amour â?¢ A Woman in Love â?¢ Love Is All â?¢ Crazy Little Thing Called Love â?¢ Conquest of Paradise â?¢ Fly Me to The Moon â?¢ Havah Nagilah â?¢ This Melody â?¢ I Donâ??t Need Her, I Need You â?¢ A WhiterShade of Pale â?¢ On Top of Old Smokey â?¢ Everything I Do, I Do It for You â?¢ Reach Out, Iâ??ll Be There â?¢ Swing Low, Sweet Chariot â?¢ The Yellow Rose of Texas â?¢ Butterfly â?¢ Born to Make You Happy â?¢ Youâ??ll Never Walk Alone â?¢ And the BandPlayed on â?¢ Waltzing Matilda â?¢ We Shall Overcome â?¢ When the Saints Come Marching In

Nach dem groÃ?en Erfolg von Top Hits Solo I> wird die Reihe hier mit noch mehr unvergesslichen Pophits fortgesetzt.

4 Melody Instruments & Guitar, Piano, Bass, Percussion

SKU: AP.1-ADV17002

Medium Slow Rock. Composed by Friedrich Silcher. Arranged by Frank Reinshagen. 5 or More; Mixed Instruments - Flexible Instrumentation; Solo Small Ensembles. Advance Music: Holiday Celebration Series. Christmas; Sacred; Traditional; Winter. Score and Part(s). Advance Music #01-ADV17002. Published by Advance Music (AP.1-ADV17002).

UPC: 805095170023. English.

Alle Jahre wieder (Every Year Again) is a well-known German Christmas carol, written in 1837 by Johann Wilhelm Hey and set to music by Friedrich Silcher. It has been arranged by Frank Reinshagen for four C-instruments, guitar, piano, bass, and percussion.

Concert Band/Harmonie and Euphonium Solo - Grade 3

SKU: BT.AMP-108-010

Composed by Philip Sparke. Anglo Music Midway Series. Solo & Concerto. Set (Score & Parts). Composed 2004. Anglo Music Press #AMP 108-010. Published by Anglo Music Press (BT.AMP-108-010).

English-German-French- Dutch.

This set of variations on the well-known hymn tune ‘Holy, holy, holy!’ will make a most satisfying addition to the solo repertoire for euphonuim and concert band. It is in the traditional air varié form with an introduction, theme and 3 variations. The original melody (known as Nicaea) was composed by John Bacchus Dykes’ especially for Reginald Heber’s renowned hymn of praise and became universally popular when it was included in Hymns Ancient and Modern in 1861. A beautiful solo that will test the soloists ability to show true emotion.

Deze serie variaties op de bekende hymnemelodie Holy, holy, holy! zal een geliefde aanvulling vormen op het solorepertoire voor euphonium en blaasorkest. Variants on an English Hymn Tune is geschreven in een traditionele air varié-vorm- met een introductie, thema en drie variaties. John Bacchus Dykes’ beroemde melodie Nicaea werd speciaal geschreven voor Reginald Hebers befaamde lofhymne en werd wereldwijd geliefd toen ze in 1861 werd opgenomen in Hymns Ancientand Modern. In deze prachtige solo kunnen solisten laten horen hoe je echte emoties verklankt.

Philip Sparke wählte das bekannte englische Kirchenlied Holy, holy, holy und schuf daraus eine kreative Reihe von Variationen für Euphonium und Blasorchester. Die Hymne basiert auf der berühmten Melodie Nicaea von John Bacchus Dykes, dessen zahlreiche im 19. Jahrhundert entstandenen Kirchenlieder heute noch gesungen werden. Variants on an English Hymn Tune weiste eine traditionelle Air Varié Form mit Einleitung, Thema und drei Variationen auf.

John Bacchus Dykes (1823-1876) a composé la mélodie Nicaea pour accompagner le magnifique texte de louange Holy, holy, holy! écrit par Reginald Heber. L’hymne connaît un succès universel dès sa publication dans le psautier Hymns Ancient and Modern en 1861. Philip Sparke a repris cette célèbre mélodie pour composer Variants on an English Hymn Tune qui se présente sous la forme traditionnelle d’un air varié dont la structure comporte une introduction, un thème et une suite de trois variations sur le thème.

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-0971104-010

Composed by Jacob De Haan. Inspiration Series. Hymns & Chorals. Set (Score & Parts). Composed 1997. De Haske Publications #DHP 0971104-010. Published by De Haske Publications (BT.DHP-0971104-010).

Jacob de Haan was commissioned to write Choral Music a concert band from Dinxperlo (Netherlands). This band gave the work its premiere in 1997 during the World Music Contest in Kerkrade. Choral Music is based on the chorale Sollt ich meinem Gott nicht singen by the seventeenth century German composer Johann Schop. Contrary to the title, Choral Music has nothing in common with a traditional choral arrangement. This contrasting work has a flashing beginning and only much later following on several thematic changes does Jacob de Haan allow the chorale melody to develop into its original form. Following this episode the chorale becomes a toccata developing into a whirlwind finish.

SAB choir & piano - Very Easy to Easy

SKU: OU.9780193540088

Composed by Higgins. Christmas Songs & Carols - Mixed Voices. Oxford Three-part Repertoire. Vocal score. 8 pages. Duration 3'. Oxford University Press #9780193540088. Published by Oxford University Press (OU.9780193540088).

ISBN 9780193540088. 10 x 7 inches.

For SABar and piano Higgins's arrangement of the popular German carol is given a modern twist with fresh harmonies, but still captures the gentleness and tranquility found in more traditional settings. Supported by sustained 'oo's and 'ah's throughout, the well-known melody is underpinned by a delicate piano accompaniment.

Concert Band/Harmonie - Grade 3

SKU: BT.DHP-1115037-010

Composed by Satoshi Yagisawa. Brilliant Marches. March. Set (Score & Parts). Composed 2011. De Haske Publications #DHP 1115037-010. Published by De Haske Publications (BT.DHP-1115037-010).

9x12 inches. English-German-French-Dut ch.

Satoshi Yagisawa is well known for his dramatic symphonic band compositions. Even though he has written relatively few marches, they are also very popular: March Willing and Able is based on a chorale while March Bou Shu is based on a Japanese folk song. The Memory of Our Native Place is a rather unusual piece for Yagisawa, as it actually closely resembles a traditional march. The piece opens with a lively fanfare and is contrasted by the following theme. The trio features a chorale-like melody.

Satoshi Yagisawa is vooral bekend van zijn dramatische orkestwerken. Marsen schreef hij nog maar weinig. Die paar die hij schreef, zijn inmiddels allemaal wel erg geliefd en populair; March Willing and Able is gebaseerd op koraalmuziek en in March Bou Shu is een Japanse volksmelodie verwerkt. Deze nieuwe mars, The Memory of Our Native Place, begint met een stralende fanfare. Daarna klinkt een innig thema. In het triodeel komt een koraalachtige melodie naar voren. Kortom: hieraan houdt uw publiek zeker een mooie herinnering!

Satos hi Yagisawa ist bekannt für seine dramatischen Blasorchesterwerke - Märsche hat er bisher nur sehr wenige, dafür aber sehr beliebte geschrieben. Zwei davon sind March Willing and Able und March Bou Shu - der eine auf choraler Musik, der andere auf einem japanischen Volkslied basierend. The Memory of Our Native Place beginnt mit einer strahlenden Fanfare, bevor ein inniges Thema erklingt. Im Trio tritt eine choralartige Melodie hervor.

The Memory of our Native Place n’est pas une marche conventionnelle, mais contient néanmoins quelques éléments standard. Elle s’ouvre avec une fanfare brillante, suivie par un thème pétillant de fraîcheur marqué par une joyeuse alternance de réponses entre bois, cuivres et cuivres graves. La mélodie chantante du trio mène fi nale haut en couleurs faisant de The Memory of our Native Place une incontournable marche de concert.

Satoshi Yagisawa ha composto oltre cento brani per fi ati, ma solamente quattro marce, tra le quali ricordiamo le acclamate March Willing and Able e March Bou Shu, la prima basata su musica corale, la seconda su una canzone folk giapponese. Con The Memory of our Native Place, Yagisawa si allontana dal suo stile poco convenzionale, componendo una marcia che si avvicina agli schemi standard. L’inizio vede protagonista una fanfara brillante, seguita da un tema più intimo. Il trio espone una melodia simile a un corale.

Concert Band/Harmonie and Euphonium Solo - Grade 3

SKU: BT.AMP-108-140

Composed by Philip Sparke. Anglo Music Midway Series. Solo & Concerto. Score Only. Composed 2004. Anglo Music Press #AMP 108-140. Published by Anglo Music Press (BT.AMP-108-140).

English-German-French- Dutch.

This set of variations on the well-known hymn tune ‘Holy, holy, holy!’ will make a most satisfying addition to the solo repertoire for euphonuim and concert band. It is in the traditional air varié form with an introduction, theme and 3 variations. The original melody (known as Nicaea) was composed by John Bacchus Dykes’ especially for Reginald Heber’s renowned hymn of praise and became universally popular when it was included in Hymns Ancient and Modern in 1861. A beautiful solo that will test the soloists ability to show true emotion.

Deze serie variaties op de bekende hymnemelodie Holy, holy, holy! zal een geliefde aanvulling vormen op het solorepertoire voor euphonium en blaasorkest. Variants on an English Hymn Tune is geschreven in een traditionele air varié-vorm- met een introductie, thema en drie variaties. John Bacchus Dykes’ beroemde melodie Nicaea werd speciaal geschreven voor Reginald Hebers befaamde lofhymne en werd wereldwijd geliefd toen ze in 1861 werd opgenomen in Hymns Ancientand Modern. In deze prachtige solo kunnen solisten laten horen hoe je echte emoties verklankt.

Philip Sparke wählte das bekannte englische Kirchenlied Holy, holy, holy und schuf daraus eine kreative Reihe von Variationen für Euphonium und Blasorchester. Die Hymne basiert auf der berühmten Melodie Nicaea von John Bacchus Dykes, dessen zahlreiche im 19. Jahrhundert entstandenen Kirchenlieder heute noch gesungen werden. Variants on an English Hymn Tune weiste eine traditionelle Air Varié Form mit Einleitung, Thema und drei Variationen auf.

John Bacchus Dykes (1823-1876) a composé la mélodie Nicaea pour accompagner le magnifique texte de louange Holy, holy, holy! écrit par Reginald Heber. L’hymne conna?t un succès universel dès sa publication dans le psautier Hymns Ancient and Modern en 1861. Philip Sparke a repris cette célèbre mélodie pour composer Variants on an English Hymn Tune qui se présente sous la forme traditionnelle d’un air varié dont la structure comporte une introduction, un thème et une suite de trois variations sur le thème.

Brass Band and Euphonium Solo - Grade 3

SKU: BT.AMP-108-130

Composed by Philip Sparke. Anglo Music Midway Series. Solo & Concerto. Score Only. Composed 2004. Anglo Music Press #AMP 108-130. Published by Anglo Music Press (BT.AMP-108-130).

9x12 inches. English-German-French-Dut ch.

This set of variations on the well-known hymn tune Holy, holy, holy! will make a most satisfying addition to the solo repertoire for euphonuim and brass band. It is in the traditional air varié form with an introduction, theme and 3 variations. The original melody (known as Nicaea) was composed by John Bacchus Dykes' especially for Reginald Heber's renowned hymn of praise and became universally popular when it was included in Hymns Ancient and Modern in 1861. A beautiful solo that will test the soloists ability to show true emotion.

Deze serie variaties op de bekende hymnemelodie Holy, holy, holy! zal een geliefde aanvulling vormen op het solorepertoire voor euphonium en blaasorkest. Variants on an English Hymn Tune is geschreven in een traditionele air varié-vorm- met een introductie, thema en drie variaties. John Bacchus Dykes’ beroemde melodie Nicaea werd speciaal geschreven voor Reginald Hebers befaamde lofhymne en werd wereldwijd geliefd toen ze in 1861 werd opgenomen in Hymns Ancientand Modern. In deze prachtige solo kunnen solisten laten horen hoe je echte emoties verklankt.

Philip Sparke wählte das bekannte englische Kirchenlied Holy, Holy, Holy und schuf daraus eine kreative Reihe von Variationen für Euphonium und Blasorchester. Die Hymne basiert auf die berühmte Melodie Nicaea von John Bacchus Dykes, dessen zahlreiche im 19. Jahrhundert entstandene Kirchenlieder heute noch gesungen werden. Variants on an English Hymn Tune weist eine traditionelle Air Varié-Form mit Einleitung, Thema und drei Variationen auf.

John Bacchus Dykes (1823-1876) a composé la mélodie Nicaea pour accompagner le magnifique texte de louange Holy, holy, holy! écrit par Reginald Heber. L'hymne conna?t un succ¬s universel d¬s sa publication dans le psautier Hymns Ancient and Modern en 1861. Philip Sparke a repris cette cél¬bre mélodie pour composer Variants on an English Hymn Tune qui se présente sous la forme traditionnelle d'un air varié dont la structure comporte une introduction, un th¬me et une suite de trois variations sur le th¬me.

Trombone BC - intermediate

SKU: BT.DHP-1002333-401

Arranged by Robert van Beringen. Educational Tool. Book Only. Composed 2000. 44 pages. De Haske Publications #DHP 1002333-401. Published by De Haske Publications (BT.DHP-1002333-401).

ISBN 9789043112147. English-German-French-Dut ch.

This is a great value collection of 24 pop songs and traditional melodies arranged for unaccompanied solo. Every style of pop music is included with songs by Britney Spears (Sometimes and Born To Make You Happy), Queen (Crazy Little Thing Called Love), Lou Bega (Mambo No 5), Brian Adams (Everything I Do), Elvis (Youâ??ll Never Walk Alone) and many more.

Inhoud: Mambo No. 5 â?¢ Sometimes â?¢ Vive lâ??amour â?¢ A Woman in Love â?¢ Love Is All â?¢ Crazy Little Thing Called Love â?¢ Conquest of Paradise â?¢ Fly Me to The Moon â?¢ Havah Nagilah â?¢ This Melody â?¢ I Donâ??t Need Her, I Need You â?¢ A WhiterShade of Pale â?¢ On Top of Old Smokey â?¢ Everything I Do, I Do It for You â?¢ Reach Out, Iâ??ll Be There â?¢ Swing Low, Sweet Chariot â?¢ The Yellow Rose of Texas â?¢ Butterfly â?¢ Born to Make You Happy â?¢ Youâ??ll Never Walk Alone â?¢ And the BandPlayed on â?¢ Waltzing Matilda â?¢ We Shall Overcome â?¢ When the Saints Come Marching In

Nach dem groÃ?en Erfolg von Top Hits Solo I> wird die Reihe hier mit noch mehr unvergesslichen Pophits fortgesetzt.

Guitar - Intermediate

SKU: OT.26114

Composed by Ariel Lazarus. A short suite for classical guitar based on themes from the Spanish and Portuguese tradition. Classical. Score. OR-TAV Music Publications #26114. Published by OR-TAV Music Publications (OT.26114).

ISBN 9789655051049. 8.27 x 11.69 inches.

Ariel Lazarus
Guitarra Liturgia
Two pieces based on music from the Spanish and Portuguese tradition.
Contents:
Jerusalem de Sefarad - Suite for Guitar
Contrapunto Sefardi
The composer writes:
For many years I wanted to compose a piece for guitar which would inspire interested students to expand their repertoire in the direction of Jewish music. The most natural thing for me was to write a suite based on themes from the synagogue in which I grew up – the Spanish and Portuguese synagogue of Gibraltar. My beloved grandfather served all his life as hazzan (cantor) of this synagogue, and I always felt as a composer and educator that I had a special obligation to continue his tradition and pass it on to a new generation. In this composition, I let the guitar echo the piyyutim (semi-liturgical poems) that were part of my childhood: Adon Olam, Sh'charchoret, Achot K'tana, Yigdal, Borei ad Ana, all of which are sung in the Spanish and Portuguese tradition from Gibraltar to London, and from New York to Jerusalem. I let myself dream the piyyutim, take them apart and reconstruct them as a short suite for guitar, the results of which you are invited to hear here. As a conceptual idea for the suite, I choose to suggest about the cultural continuation between the Diaspora and the land of Israel by way of referencing the well-known melody of Naomi Shemer, which is also popular among the hazzanim.
Dr. Ariel Lazarus is a unique voice among Israeli composer-performers today. Brought up in a family with Jewish musical roots both in Gibraltar and Westphalia, he began composing and playing the guitar in his teens, and has been committed to developing his own compositional language ever since, always maintaining an open dialogue with his traditions.
Lazarus received his BMus and MMus degrees from Oklahoma City University in classical guitar performance and composition where he studied with American composer Dr. Edward Knight. He earned his PhD from Bar Ilan University, studying composition with Prof. Betty Olivero and Prof. Gideon Lewensohn and conducting research under the supervision of Prof. Edwin Seroussi from the Hebrew University. His symphonic works have been premiered by the Raanana Symphonette Orchestra, and his chamber works have been performed by various ensembles in the United States, Central Europe, Portugal, Gibraltar, Scandinavia and Israel. Lazarus performs regularly as Art Ambassador on behalf of the Israeli Ministry of Diaspora affairs Amiel BaKehila program.
His solo album A Hebrew Capriccio was released by the German boutique label SmoothFactor and was awarded critical acclaim, among others, in Haaretz, and Neue Westfalishe.
Dr. Lazarus is the musical director and co-founder of the Israeli Ladino Orchestra. His work with the orchestra has been recognized by the official Carta de España. He teaches at the Academic College for Education Givat Washington, and the Rimon School of Music. Lazarus’s work has been awarded by the Israeli Pais Art council and ACUM.

Fanfare Band - Grade 3

SKU: BT.AMP-139-020

Composed by Philip Sparke. Anglo Music Midway Series. Concert Piece. Set (Score & Parts). Composed 2005. Anglo Music Press #AMP 139-020. Published by Anglo Music Press (BT.AMP-139-020).

9x12 inches. English-German-French-Dut ch.

This is an ancient Welsh air that was first published in Relics of the Welsh Bards in 1794. Dafydd (David) Owain was a famous Welsh bard who lived on a farm called Gareg Wen (The White Rock) in Eifionydd, Carnarnvonshire, North Wales. Tradition has it that on his deathbed he called for his harp and composed this lovely melody, requesting that it be played at his funeral. Accordingly, it was later played at the parish church of Ynys-Cynhaiarn. Lyrics were later added by Ceiriog Hughes, which describe the melody's inspiration. This version for fanfare band retains all the beauty and simplicity of the original.

Deze oude melodie uit Wales werd in 1794 voor het eerst uitgegeven in Relics of the Welsh Bards. Dafydd (David) Owain was een beroemde bard uit Wales, hij woonde op een boerderij genaamd Gareg Wen (De witte rots) te Eifionyddin Carnarnvonshire, in Noord-Wales. Volgens de overlevering vroeg hij op zijn sterfbed om zijn harp en componeerde hij vervolgens deze prachtige melodie, met het verzoek om die te laten spelen op zijn begrafenis. Overeenkomstigzijn wens werd de melodie gespeeld in de dorpskerk van Ynys-Cynhaiarn. De tekst werd later toegevoegd door Ceiriog Hughes en beschrijft de ontstaansgeschiedenis van deze muziek.

Dafydd Owain war ein berühmter walisischer Barde, der auf einem Bauernhof namens Gareg Wen, was so viel wie weißer Felsen bedeutet, lebte; daher der Name David vom weißen Felsen“. Es wird erzählt, dass Dafydd auf seinem Sterbebett nach seiner Harfe verlangte und dort diese Melodie komponierte, mit der Bitte, man möge sie zu seiner Beerdigung spielen. Die Schlichtheit dieses bezaubernden Airs eignet sich perfekt als Zwischenspiel in Ihrem Konzert.

Dafydd (David) Owain fu un poeta e cantore gallese. Visse a Eifionydd, nella contea del Carnavonshire (nel nord del Galles), in una fattoria chiamata”Gareg wen” (La roccia bianca). Una leggenda narra che, prima di morire,Dafydd Owain chiese che gli venisse portata la sua arpa. Negli ultimi istanti della sua vita avrebbe composto questa deliziosa melodia esigendo che venisse eseguita al suo funerale. Alcuni anni dopo, il poeta John Ceiriog Hughes scrisse un testo riportandosi alla storia che aveva portato alla composizione di questa melodia, divenuta da allora un classico della musica tradizionale gallese.

Brass Band - Grade 3

SKU: BT.AMP-238-130

Composed by Louis Bourgeois. Arranged by Philip Sparke. Anglo Music Midway Series. Hymns & Chorals. Score Only. Composed 2008. 16 pages. Anglo Music Press #AMP 238-130. Published by Anglo Music Press (BT.AMP-238-130).

9x12 inches. English-German-French-Dut ch.

The tune Old Hundredth is one of the best-known melodies in all Christian musical traditions and first appeared in the 1551 psalter Pseaumes Octante Trois de David, where it is used as a setting for a version of Psalm 134; it is usually attributed to the French composer Louis Bourgeois (c.1510 - c.1560). The melody was then used in 1561 by the Scots clergyman, William Kethe in Sternhold and Hopkins’ Psalter for his paraphrase of Psalm 100 - All People that on Earth do Dwell<(I>, which is still the most familiar hymn sung to this noble tune. When Tate and Brady’s New Version of the Psalms was published in 1696, the melody became know as the ‘old’ version - henceits current title. This arrangement presents three contrasting verses and is effective as a concert piece as well as an instrumental interlude as part of a church service or wedding.

De melodie van Old Hundredth is een van de bekendste in alle christelijke muziektradities, ze verscheen voor het eerst in Pseaumes Octante Trois de David uit 1551. De muziek wordt meestal toegeschreven aan de Fransecomponist Louis Bourgeois (ca.1510-ca.1560). In 1561werd de melodie gebruikt door de Schotse geestelijke William Kethe voor zijn parafrase van psalm 100. Later werd de melodie in Engeland bekend als de ‘oude’ versie - daar komt ookde huidige titel vandaan. Dit arrangement, met drie contrasterende coupletten, is geschikt als concertwerk of als instrumentaal tussenspel tijdens een kerkdienst of huwelijksceremonie.
Old Hundtredth ist eine der bekanntesten Melodien aller christlichen Musiküberlieferunge n. Es erschien erstmals in dem Psalter Pseaumes Octante Trois de David von 1551, wo es als Satz für zwei Psalmen verwendet wurde. Diese Bearbeitung präsentiert drei kontrastierende Strophen und kann sehr wirkungsvoll sowohl als Konzertwerk als auch als instrumentales Zwischenspiel in einem Gottesdienst oder während einer Hochzeitszeremonie eingesetzt werden.

L’h ymne Old Hundredth est une des plus célèbres hymnes chrétiennes de tous les temps. Elle fut publiée pour la première fois en 1551 dans le psautier de Genève Pseaumes octante-trois de David avec accompagnement du Psaume 134. La mélodie est fréquemment attribuée au compositeur français Louis Bourgeois (vers 1510-vers 1560).En 1561, William Kethe, un pasteur écossais, reprend la mélodie pour réaliser une paraphrase du Psaume 100, All People that on Earth do Dwell (Vous tous, habitants de la terre !), qui sera publiée dans le Psautier de Sternhold et Hopkins. Cette paraphrase reste le texte le plus chanté sur la mélodie de Bourgeois. En 1696,Nahum Tate et Nicholas Brady réalisent une Nouvelle Version des Psaumes de David (New Version of the Psalms). Par opposition la version révisée de la mélodie, la version initiale prend alors le nom de Old Hundredth, autrement dit « l’ancienne version du Psaume 100 ».

Concert Band/Harmonie - Grade 3

SKU: BT.AMP-238-140

Composed by Louis Bourgeois. Arranged by Philip Sparke. Anglo Music Midway Series. Hymns & Chorals. Score Only. Composed 2007. 16 pages. Anglo Music Press #AMP 238-140. Published by Anglo Music Press (BT.AMP-238-140).

9x12 inches. English-German-French-Dut ch.

The tune Old Hundredth is one of the best-known melodies in all Christian musical traditions and first appeared in the 1551 psalter Pseaumes Octante Trois de David, where it is used as a setting for a version of Psalm 134; it is usually attributed to the French composer Louis Bourgeois (c.1510 - c.1560). The melody was then used in 1561 by the Scots clergyman, William Kethe in Sternhold and Hopkins’ Psalter for his paraphrase of Psalm 100 - All People that on Earth do Dwell<(I>, which is still the most familiar hymn sung to this noble tune. When Tate and Brady’s New Version of the Psalms was published in 1696, the melody became know as the ‘old’ version - henceits current title. This arrangement presents three contrasting verses and is effective as a concert piece as well as an instrumental interlude as part of a church service or wedding.

De melodie van Old Hundredth is een van de bekendste in alle christelijke muziektradities, ze verscheen voor het eerst in Pseaumes Octante Trois de David uit 1551. De muziek wordt meestal toegeschreven aan de Fransecomponist Louis Bourgeois (ca.1510-ca.1560). In 1561werd de melodie gebruikt door de Schotse geestelijke William Kethe voor zijn parafrase van psalm 100. Later werd de melodie in Engeland bekend als de ‘oude’ versie - daar komt ookde huidige titel vandaan. Dit arrangement, met drie contrasterende coupletten, is geschikt als concertwerk of als instrumentaal tussenspel tijdens een kerkdienst of huwelijksceremonie.
Old Hundtredth ist eine der bekanntesten Melodien aller christlichen Musiküberlieferunge n. Es erschien erstmals in dem Psalter Pseaumes Octante Trois de David von 1551, wo es als Satz für zwei Psalmen verwendet wurde. Diese Bearbeitung präsentiert drei kontrastierende Strophen und kann sehr wirkungsvoll sowohl als Konzertwerk als auch als instrumentales Zwischenspiel in einem Gottesdienst oder während einer Hochzeitszeremonie eingesetzt werden.

L’h ymne Old Hundredth est une des plus célèbres hymnes chrétiennes de tous les temps. Elle fut publiée pour la première fois en 1551 dans le psautier de Genève Pseaumes octante-trois de David avec accompagnement du Psaume 134. La mélodie est fréquemment attribuée au compositeur français Louis Bourgeois (vers 1510-vers 1560).En 1561, William Kethe, un pasteur écossais, reprend la mélodie pour réaliser une paraphrase du Psaume 100, All People that on Earth do Dwell (Vous tous, habitants de la terre !), qui sera publiée dans le Psautier de Sternhold et Hopkins. Cette paraphrase reste le texte le plus chanté sur la mélodie de Bourgeois. En 1696,Nahum Tate et Nicholas Brady réalisent une Nouvelle Version des Psaumes de David (New Version of the Psalms). Par opposition la version révisée de la mélodie, la version initiale prend alors le nom de Old Hundredth, autrement dit « l’ancienne version du Psaume 100 ».Cet arrangement présente trois strophes contrastantes. Il peut être interprété comme une œuvre de concert ou comme un interlude dans le cadre d’un office religieux ou d’une cérémonie de mariage.

Fanfare Band - Grade 3

SKU: BT.AMP-139-120

Composed by Philip Sparke. Anglo Music Midway Series. Concert Piece. Score Only. Composed 2005. 12 pages. Anglo Music Press #AMP 139-120. Published by Anglo Music Press (BT.AMP-139-120).

9x12 inches. English-German-French-Dut ch.

This is an ancient Welsh air that was first published in Relics of the Welsh Bards in 1794. Dafydd (David) Owain was a famous Welsh bard who lived on a farm called Gareg Wen (The White Rock) in Eifionydd, Carnarnvonshire, North Wales. Tradition has it that on his deathbed he called for his harp and composed this lovely melody, requesting that it be played at his funeral. Accordingly, it was later played at the parish church of Ynys-Cynhaiarn. Lyrics were later added by Ceiriog Hughes, which describe the melody's inspiration. This version for fanfare band retains all the beauty and simplicity of the original.

Deze oude melodie uit Wales werd in 1794 voor het eerst uitgegeven in Relics of the Welsh Bards. Dafydd (David) Owain was een beroemde bard uit Wales, hij woonde op een boerderij genaamd Gareg Wen (De witte rots) te Eifionyddin Carnarnvonshire, in Noord-Wales. Volgens de overlevering vroeg hij op zijn sterfbed om zijn harp en componeerde hij vervolgens deze prachtige melodie, met het verzoek om die te laten spelen op zijn begrafenis. Overeenkomstigzijn wens werd de melodie gespeeld in de dorpskerk van Ynys-Cynhaiarn. De tekst werd later toegevoegd door Ceiriog Hughes en beschrijft de ontstaansgeschiedenis van deze muziek.

Dafydd Owain war ein berühmter walisischer Barde, der auf einem Bauernhof namens Gareg Wen, was so viel wie weißer Felsen bedeutet, lebte; daher der Name David vom weißen Felsen“. Es wird erzählt, dass Dafydd auf seinem Sterbebett nach seiner Harfe verlangte und dort diese Melodie komponierte, mit der Bitte, man möge sie zu seiner Beerdigung spielen. Die Schlichtheit dieses bezaubernden Airs eignet sich perfekt als Zwischenspiel in Ihrem Konzert.

Dafydd (David) Owain fu un poeta e cantore gallese. Visse a Eifionydd, nella contea del Carnavonshire (nel nord del Galles), in una fattoria chiamata”Gareg wen” (La roccia bianca). Una leggenda narra che, prima di morire,Dafydd Owain chiese che gli venisse portata la sua arpa. Negli ultimi istanti della sua vita avrebbe composto questa deliziosa melodia esigendo che venisse eseguita al suo funerale. Alcuni anni dopo, il poeta John Ceiriog Hughes scrisse un testo riportandosi alla storia che aveva portato alla composizione di questa melodia, divenuta da allora un classico della musica tradizionale gallese.

Brass Band - Grade 3

SKU: BT.AMP-238-030

Composed by Louis Bourgeois. Arranged by Philip Sparke. Anglo Music Midway Series. Hymns & Chorals. Set (Score & Parts). Composed 2008. Anglo Music Press #AMP 238-030. Published by Anglo Music Press (BT.AMP-238-030).

9x12 inches. English-German-French-Dut ch.

The tune Old Hundredth is one of the best-known melodies in all Christian musical traditions and first appeared in the 1551 psalter Pseaumes Octante Trois de David, where it is used as a setting for a version of Psalm 134; it is usually attributed to the French composer Louis Bourgeois (c.1510 - c.1560). The melody was then used in 1561 by the Scots clergyman, William Kethe in Sternhold and Hopkins’ Psalter for his paraphrase of Psalm 100 - All People that on Earth do Dwell<(I>, which is still the most familiar hymn sung to this noble tune. When Tate and Brady’s New Version of the Psalms was published in 1696, the melody became know as the ‘old’ version - henceits current title. This arrangement presents three contrasting verses and is effective as a concert piece as well as an instrumental interlude as part of a church service or wedding.

De melodie van Old Hundredth is een van de bekendste in alle christelijke muziektradities, ze verscheen voor het eerst in Pseaumes Octante Trois de David uit 1551. De muziek wordt meestal toegeschreven aan de Fransecomponist Louis Bourgeois (ca.1510-ca.1560). In 1561werd de melodie gebruikt door de Schotse geestelijke William Kethe voor zijn parafrase van psalm 100. Later werd de melodie in Engeland bekend als de ‘oude’ versie - daar komt ookde huidige titel vandaan. Dit arrangement, met drie contrasterende coupletten, is geschikt als concertwerk of als instrumentaal tussenspel tijdens een kerkdienst of huwelijksceremonie.
Old Hundtredth ist eine der bekanntesten Melodien aller christlichen Musiküberlieferunge n. Es erschien erstmals in dem Psalter Pseaumes Octante Trois de David von 1551, wo es als Satz für zwei Psalmen verwendet wurde. Diese Bearbeitung präsentiert drei kontrastierende Strophen und kann sehr wirkungsvoll sowohl als Konzertwerk als auch als instrumentales Zwischenspiel in einem Gottesdienst oder während einer Hochzeitszeremonie eingesetzt werden.

L’h ymne Old Hundredth est une des plus célèbres hymnes chrétiennes de tous les temps. Elle fut publiée pour la première fois en 1551 dans le psautier de Genève Pseaumes octante-trois de David avec accompagnement du Psaume 134. La mélodie est fréquemment attribuée au compositeur français Louis Bourgeois (vers 1510-vers 1560).En 1561, William Kethe, un pasteur écossais, reprend la mélodie pour réaliser une paraphrase du Psaume 100, All People that on Earth do Dwell (Vous tous, habitants de la terre !), qui sera publiée dans le Psautier de Sternhold et Hopkins. Cette paraphrase reste le texte le plus chanté sur la mélodie de Bourgeois. En 1696,Nahum Tate et Nicholas Brady réalisent une Nouvelle Version des Psaumes de David (New Version of the Psalms). Par opposition la version révisée de la mélodie, la version initiale prend alors le nom de Old Hundredth, autrement dit « l’ancienne version du Psaume 100 ».

Concert Band/Harmonie - Grade 3

SKU: BT.AMP-238-010

Composed by Louis Bourgeois. Arranged by Philip Sparke. Anglo Music Midway Series. Hymns & Chorals. Set (Score & Parts). Composed 2007. Anglo Music Press #AMP 238-010. Published by Anglo Music Press (BT.AMP-238-010).

9x12 inches. English-German-French-Dut ch.

The tune Old Hundredth is one of the best-known melodies in all Christian musical traditions and first appeared in the 1551 psalter Pseaumes Octante Trois de David, where it is used as a setting for a version of Psalm 134; it is usually attributed to the French composer Louis Bourgeois (c.1510 - c.1560). The melody was then used in 1561 by the Scots clergyman, William Kethe in Sternhold and Hopkins’ Psalter for his paraphrase of Psalm 100 - All People that on Earth do Dwell<(I>, which is still the most familiar hymn sung to this noble tune. When Tate and Brady’s New Version of the Psalms was published in 1696, the melody became know as the ‘old’ version - henceits current title. This arrangement presents three contrasting verses and is effective as a concert piece as well as an instrumental interlude as part of a church service or wedding.

De melodie van Old Hundredth is een van de bekendste in alle christelijke muziektradities, ze verscheen voor het eerst in Pseaumes Octante Trois de David uit 1551. De muziek wordt meestal toegeschreven aan de Fransecomponist Louis Bourgeois (ca.1510-ca.1560). In 1561werd de melodie gebruikt door de Schotse geestelijke William Kethe voor zijn parafrase van psalm 100. Later werd de melodie in Engeland bekend als de ‘oude’ versie - daar komt ookde huidige titel vandaan. Dit arrangement, met drie contrasterende coupletten, is geschikt als concertwerk of als instrumentaal tussenspel tijdens een kerkdienst of huwelijksceremonie.
Old Hundtredth ist eine der bekanntesten Melodien aller christlichen Musiküberlieferunge n. Es erschien erstmals in dem Psalter Pseaumes Octante Trois de David von 1551, wo es als Satz für zwei Psalmen verwendet wurde. Diese Bearbeitung präsentiert drei kontrastierende Strophen und kann sehr wirkungsvoll sowohl als Konzertwerk als auch als instrumentales Zwischenspiel in einem Gottesdienst oder während einer Hochzeitszeremonie eingesetzt werden.

L’h ymne Old Hundredth est une des plus célèbres hymnes chrétiennes de tous les temps. Elle fut publiée pour la première fois en 1551 dans le psautier de Genève Pseaumes octante-trois de David avec accompagnement du Psaume 134. La mélodie est fréquemment attribuée au compositeur français Louis Bourgeois (vers 1510-vers 1560).En 1561, William Kethe, un pasteur écossais, reprend la mélodie pour réaliser une paraphrase du Psaume 100, All People that on Earth do Dwell (Vous tous, habitants de la terre !), qui sera publiée dans le Psautier de Sternhold et Hopkins. Cette paraphrase reste le texte le plus chanté sur la mélodie de Bourgeois. En 1696,Nahum Tate et Nicholas Brady réalisent une Nouvelle Version des Psaumes de David (New Version of the Psalms). Par opposition la version révisée de la mélodie, la version initiale prend alors le nom de Old Hundredth, autrement dit « l’ancienne version du Psaume 100 ».

Composed by Richard DeRosa. Arranged by Richard DeRosa. For jazz ensemble. The Contemporary Composers Series. Swing. Medium-Advanced. Score and set of parts. Published by Sierra Music

Concert Band/Harmonie (Score) - Grade 5

SKU: HL.44012759

Composed by Philip Sparke. Anglo Music Concert Band. Softcover. Composed 2015. Anglo Music Press #AMP443140. Published by Anglo Music Press (HL.44012759).

UPC: 888680610456. 10.75x14.0x0.142 inches. English-German-French-Dut ch.

Reflections on an Old Japanese Folk Song is based on the tune Suiryo-Bushi, which comes from the shamisen tradition and opens with two contrasting statements of the melody followed by several variations each in an own style based uponthe same tune, or sometimes only fragments of it. In one of the variants, the pentatonic scale is used. The final section is in the form of a scherzo, which eventually forms the accompaniment to a final presentation of the folk tune.

Reflectio ns on an Old Japanese Folk Song is gebaseerd op het liedje Suiryo-Bushi, dat afkomstig is uit de shamisen-traditie en opent met twee contrasterende statements van de betreffende melodie, gevolgd door verschillende variatieshierop, in diverse stijlen, steeds gebaseerd op hetzelfde liedje of fragmenten eruit. In een van de variaties wordt de pentatonische toonladder gebruikt. Het slotgedeelte begint met een scherzo, dat uiteindelijk de begeleiding vormt van een laatsteuiteenzetting van het volksliedje.

Das Stuck Reflections on an Old Japanese Folk Song basiert auf der Melodie des Volksliedes Suiryo-Bushi, das in der Tradition des japanischen Saiteninstruments Schamisen steht. Es beginnt mit zwei gegensatzlichen Darstellungen derMelodie, gefolgt von verschiedenen Variationen: jede in einem eigenen Stil, aber alle auf der gleichen Melodie oder auf Fragmenten der Melodie beruhend. In einer Variation wird auch die pentatonische Tonleiter verwendet. Im Scherzo, demSchlussteil des Stuckes, erklingt das Volkslied schliesslich zum letzten Mal.

Reflection s on an Old Japanese Folk Song est base sur la melodie Suiryo-Bushi, qui est issue de la tradition de shamisen. L'oeuvre commence par deux versions differentes de la melodie, suivies par plusieurs variations sur le theme enentier ou en partie, chacune dans son propre style. La section finale est dans la forme d'un scherzo, qui prend le role d'accompagnement a la fin, lors de la derniere presentation du theme folklorique.

Re flections on an Old Japanese Folk Song, basata su un motivo di Suiryo-Bushi, originariamente concepito per shamisen, strumento a corde tipico della tradizione musicale giapponese. La struttura del brano e del tutto peculiare, basata sulladalla reiterazione melodica di un tema o frammenti di esso, con l'inserimento di brevi variazioni. In una delle varianti, e usata la scala pentatonica. La sezione finale e nella forma dello scherzo.