| Optimistic Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire Sierra Music
Composed by Patty Darling. Arranged by Patty Darling. For jazz ensemble. Radiohe...(+)
Composed by Patty
Darling. Arranged by
Patty Darling. For jazz
ensemble. Radiohead Jazz
Project. Fusion. Medium.
Score and set of parts.
Published by Sierra Music
$57.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Wizard of Oz (Selections) Trompette Alfred Publishing
Trumpet SKU: AP.IF9528 Trumpet. Composed by Harold Arlen. Instrume...(+)
Trumpet SKU:
AP.IF9528
Trumpet. Composed
by Harold Arlen.
Instrumental Series.
Movie. Book. 20 pages.
Alfred Music #00-IF9528.
Published by Alfred Music
(AP.IF9528). ISBN
9780897246835. UPC:
029156158038. English. E.
Y. Harburg. Here
are the top ten tunes
from one of the most
memorable movies of all
time. The titles are:
Ding-Dong! The Witch Is
Dead * If I Only Had a
Brain * If I Were King of
the Forest * Lullaby
League and Lollypop Guild
* The Merry Old Land of
Oz * Munchkinland *
Optimistic Voices * Over
the Rainbow * We're Off
to See the Wizard. $4.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| All Shall Be Well Chorale SATB Carl Fischer
Choral SATB Choir SKU: CF.CM9654 Composed by Mark Burrows. Fold. Performa...(+)
Choral SATB Choir SKU:
CF.CM9654 Composed by
Mark Burrows. Fold.
Performance Score. 12
pages. Duration 4:15.
Carl Fischer Music
#CM9654. Published by
Carl Fischer Music
(CF.CM9654). ISBN
9781491157268. UPC:
680160915828. 6.875 x
10.5 inches. Key: Ab
major. English, English.
Julian of Norwich
(1342-1416). Burrow
s's setting of words of
assurance from the
English mystic Julian of
Norwich (1342-1416) is as
relevant today as ever.
For the advanced mixed
ensemble, the powerful
lyrics coupled with
gorgeous harmonies make
this an optimistic song
of hope appropriate
throughout the
year. All shall be
well, And all shall be
well, And all manner of
thing shall be well.
These words of assurance
from the English mystic
Julian of Norwich
(1342-1416) are as
relevant today as ever.
During her life, Julian
saw her community
devastated by the Great
Plague as well as deep
civil unrest. Yet through
all the turmoil came a
vision of hope that has
given the world this
profound text. One of the
most striking features is
how this short text
incorporates so much
repetition. It's as if
the writer knew she must
be gently persistent in
order for her optimistic
message to truly sink in.
The opening section tries
to capture musically some
of that persistent
optimism. Then there is a
departure from this
optimistic tone (measure
26) The feel becomes more
desperate, building to an
anguished cry (measure
38), acknowledging the
reality that, while all
shall be well, things are
very much NOT well right
now. Eventually the
anguish subsides (measure
52) as the music turns
back hopeward with the
calm assurance, again and
again, that all shall be
well. All shall be
well,And all shall be
well,And all manner of
thing shall be well.These
words of assurance from
the English mystic Julian
of Norwich (1342-1416)
are as relevant today as
ever. During her life,
Julian saw her community
devastated by the Great
Plague as well as deep
civil unrest. Yet through
all the turmoil came a
vision of hope that has
given the world this
profound text.One of the
most striking features is
how this short text
incorporates so much
repetition. It’s
as if the writer knew she
must be gently persistent
in order for her
optimistic message to
truly sink in.The opening
section tries to capture
musically some of that
persistent optimism.Then
there is a departure from
this optimistic tone
(measure 26) The feel
becomes more desperate,
building to an anguished
cry (measure 38),
acknowledging the reality
that, while all shall be
well, things are very
much NOT well right
now.Eventually the
anguish subsides (measure
52) as the music turns
back hopeward with the
calm assurance, again and
again, that all shall be
well. $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fanfare and Jubilation [Conducteur] - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass
Drum, Bass Trombone,
Bassoon, Bells, Clarinet
1, Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Timpani,
Trombone, Trumpet 1 and
more. - Grade 1 SKU:
CF.BPS137F Composed
by Michael Boo. Sws. Bps.
Full score. 16 pages.
Duration 2:20. Carl
Fischer Music #BPS137F.
Published by Carl Fischer
Music (CF.BPS137F).
ISBN 9781491158494.
UPC: 680160917099. 9 x 12
inches. Fanfare and
Jubilation is a Grade 1
work that is playable by
any beginning band with
any instrumentation due
to extensive doubling.
The mood is regal and
optimistic and is
non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldnat be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you donat have
access to Timpani or a
timpanist. Bells cover a
wide rangea|the lower
octave sections should
not be played louder just
because theyare low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
donat get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isnat plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldn't be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you don't have
access to Timpani or a
timpanist. Bells cover a
wide range...the lower
octave sections should
not be played louder just
because they're low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don't get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isn't plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion.Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue.Percussion accents
are to played with more
emphasis than
non-accented notes, but
shouldn’t be
perceived as being much
louder. Timpani is only
two pitches and is
optional. The piece will
not suffer at all if you
don’t have access
to Timpani or a
timpanist. Bells cover a
wide range…the
lower octave sections
should not be played
louder just because
they’re low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate.Think of
the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don’t get carried
away and give them more
emphasis than is
musically desired.At m.
21, be careful that the
bass line isn’t
plodding or
over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section.There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fanfare and Jubilation - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass
Drum, Bass Trombone,
Bassoon, Bells, Clarinet
1, Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Timpani,
Trombone, Trumpet 1 and
more. - Grade 1 SKU:
CF.BPS137 Composed by
Michael Boo. Folio. Bps.
Set of Score and Parts.
4+4+2+4+4+2+2+3+2+2+2+4+4
+3+2+2+2+3+1+1+2+1+16
pages. Duration 2:20.
Carl Fischer Music
#BPS137. Published by
Carl Fischer Music
(CF.BPS137). ISBN
9781491158487. UPC:
680160917082. 9 x 12
inches. Fanfare and
Jubilation is a Grade 1
work that is playable by
any beginning band with
any instrumentation due
to extensive doubling.
The mood is regal and
optimistic and is
non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldnat be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you donat have
access to Timpani or a
timpanist. Bells cover a
wide rangea|the lower
octave sections should
not be played louder just
because theyare low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
donat get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isnat plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldn't be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you don't have
access to Timpani or a
timpanist. Bells cover a
wide range...the lower
octave sections should
not be played louder just
because they're low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don't get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isn't plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion.Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue.Percussion accents
are to played with more
emphasis than
non-accented notes, but
shouldn’t be
perceived as being much
louder. Timpani is only
two pitches and is
optional. The piece will
not suffer at all if you
don’t have access
to Timpani or a
timpanist. Bells cover a
wide range…the
lower octave sections
should not be played
louder just because
they’re low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate.Think of
the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don’t get carried
away and give them more
emphasis than is
musically desired.At m.
21, be careful that the
bass line isn’t
plodding or
over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section.There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. $53.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Looking Up Moving On Sc/pts Full Score Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band/Harmonie (Score) - Grade 5 SKU: HL.44012271 Composed by Phil...(+)
Concert Band/Harmonie
(Score) - Grade 5 SKU:
HL.44012271 Composed
by Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2013.
Anglo Music Press
#AMP358140. Published by
Anglo Music Press
(HL.44012271). UPC:
888680057664.
English-German-French-Dut
ch. Looking Up,
Moving On was
commissioned by the Tokyo
Kosei Wind Orchestra and
was part of a tour
programme they gave in
May 2012, a tour which
included many areas that
had been devastated by
the 2011 earthquake and
tsunami.The theme of the
piece is the powerful
ability of mankind to
overcome such disasters
and look forward to a
positive future; it opens
in an appropriately
optimistic mood,
featuring bright
orchestral colours and
extensive syncopation. A
chorale-like fanfare is
soon introduced on horns
and euphonium, answered
by chirpy woodwinds. The
mood subsides until an
alto saxophone introduces
a brief quotation from
the composer's The Sun
Will RiseAgain, which
was written to raise
funds for victims of the
2011 disaster. The mood
soon changes and the
horns introduce a noble
theme under woodwind
flourishes. This leads to
the main Vivo
section of the piece
which is characterised
again by strong
syncopations as part of a
florid theme in the low
woodwinds. This melody
undergoes varied
development by all
sections of the band
until the horn fanfare
returns triumphally on
the brass. This is
extended and leads to a
faster coda which brings
together previous
material in counterpoint
to close the work in
optimistic mood.
Looking Up,
Moving On is
gecomponeerd in opdracht
van het Tokyo Kosei Wind
Orchestra. Het werk
maakte deel uit van een
programma uit mei 2012,
dat werd uitgevoerd
tijdens een tournee
waarbij veel regio's
werden bezocht die waren
verwoest door de
aardbeving en tsunami van
2011.Het thema van het
werk is het buitengewone
vermogen van de mens om
dergelijke rampen te
boven te komen en vooruit
te kijken naar een
positieve toekomst. De
opening is dan ook
optimistisch van
karakter, met heldere
orkestrale kleuren en een
rijkelijke syncopering.
Al snel wordt er een
koraalachtige fanfare
geintroduceerd door de
hoorns en het euphonium,
waarop een levendig
antwoord volgt in
dehoutblazerssectie. De
sfeer wordt dan steeds
kalmer totdat een
altsaxofoon een kort
citaat laat horen uit een
eerder werk van de
componist, The Sun
Will Rise Again, dat
werd geschreven om geld
in te zamelen voor de
slachtoffers van de ramp
uit 2011. De stemming
slaat vlug weer om: de
hoorns introduceren een
nobel thema, dat
weerklinkt onder
versieringen in het hout.
Dit leidt naar het Vivo,
het hoofdgedeelte, dat
eveneens wordt gekenmerkt
door sterke
syncoperingen, als
onderdeel van een
sierlijk thema in het
lage hout. De melodie
ondergaat een gevarieerde
ontwikkeling binnen alle
secties van het orkest,
totdat de hoornfanfare op
triomfantelijke wijze
terugkeert in het koper.
De fanfare wordt
vervolgens verder
uitgewerkt en voert ons
mee naar een snellere
coda, die voorafgaand
materiaal in contrapunt
samenbrengt en de
compositie in
optimistische stemming
afsluit.
Looking Up,
Moving Down wurde vom
Tokyo Kosei Wind
Orchestra in Auftrag
gegeben und war Teil des
Konzertprogramms einer
Tour im Mai 2012, welche
viele Gebiete einschloss,
die vom Erdbeben und
Tsunami im Jahr 2011
zerstort worden waren.
Thema dieses Stuckes ist
die gewaltige Fahigkeit
der Menschheit, uber
solche Katastrophen
hinwegzukommen und voll
Optimismus in die Zukunft
zu blicken; es beginnt
dementsprechend in einer
positiven Stimmung mit
strahlenden
Orchesterfarben und einer
ausgepragten
Synkopierung. Schon bald
wird eine choralartige
Fanfare auf den Hornern
und im Euphonium
vorgestellt, die von
munteren Holzblasern
beantwortet wird. Die
Stimmung flaut ab, bis
einAltsaxophon ein kurzes
Zitat aus The Sun Will
Rise Again anspielt,
das der Komponist zur
Spendenbeschaffung fur
die Opfer des Unglucks
2011 geschrieben hatte.
Kurz darauf folgt ein
Stimmungswechsel und die
Horner prasentieren ein
stattliches Thema,
begleitet von Fanfaren in
den Holzblasern. Dies
fuhrt zum mit Vivo
uberschriebenen Hauptteil
des Stuckes, der wiederum
von starken
Synkopierungen gepragt
ist, die Teil eines
bluhenden Themas in den
tiefen Holzblasern sind.
Diese Melodie durchlauft
eine vielgestaltige
Entwicklung durch alle
Instrumentengruppen des
Blasorchesters, bis das
Blech mit der Hornfanfare
triumphal zuruckkehrt.
Dies wird erweitert und
fuhrt zu einer
schnelleren Coda, in dem
verschiedenes zuvor
gehortes Material
kontrapunktisch
zusammenkommt, um das
Werk in einer
optimistischen Stimmung
zu beenden.
Looking Up,
Moving On est une
commande du Tokyo Kosei
Wind Orchestra. Cette
piece faisait partie du
programme de la tournee
effectuee par l'orchestre
en mai 2012, qui s'est
produit dans de
nombreuses regions
devastees par le
tremblement de terre et
le tsunami de 2011.La
composition a pour theme
l'immense capacite
humaine a surmonter de
telles catastrophes et
envisager l'avenir de
facon positive. Elle
debute justement dans un
climat optimiste
comportant de vives
couleurs orchestrales et
des passages syncopes.
Les cors et les euphonium
introduisent bientot une
fanfare en forme de
choral a laquelle
repondent des bois
petillants. L'ambiance
s'apaise jusqu'a ce
qu'unsaxophone alto
introduise un court
extrait de The Sun
Will Rise Again, du
meme compositeur, une
piece ecrite pour
collecter des fonds en
faveur des victimes du
desastre de 2011. Le
climat change hativement
lorsque les cors
introduisent un theme
noble par-dessus des
fioritures executees par
les bois. Vient ensuite
la principale section
vivo de la piece, qui se
caracterise, encore une
fois, par des syncopes
tres marquees dans le
cadre d'un theme fleuri
assure dans le registre
grave des bois. Cette
melodie fait l'objet de
divers developpements par
tous les pupitres de
l'orchestre jusqu'au
retour triomphant de la
fanfare soutenue par les
cuivres. Celle-ci se
prolonge pour mener a une
coda plus rapide qui
rassemble les elements
precedents en contrepoint
pour clore la piece dans
un climat optimiste. $30.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sea of Hope Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1185979-010 Composed by Jacob...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1185979-010
Composed by Jacob De
Haan. Concert and Contest
Collection CBHA. Concert
Piece. Set (Score &
Parts). Composed 2018. De
Haske Publications #DHP
1185979-010. Published by
De Haske Publications
(BT.DHP-1185979-010).
English-German-French-
Dutch. Sea of
Hope is an optimistic
work about new land
arisen from the former
Zuiderzee (the
Netherlands). In the
introduction, the sea is
conveyed in all its glory
and ferocity, through a
melody that keeps you
wondering whether it
makes you happy or sad.
Then, finally, there is a
glimmer of hope, when the
water is dammed up and
the land partly reclaimed
(by conversion into
polder land). The town of
Dronten, for instance,
develops into a place
where one day two people
meet up and fall in love.
This love is reflected in
the slow, passionate
middle movement. New life
in the town is celebrated
joyfully: the zest for
life clearly shines
through this part of the
work, followed byoptimism
and celebration in the
closing bars.
Sea of
Hope is een
optimistisch werk over
nieuw land, ontstaan
vanuit de genadeloze
voormalige Zuiderzee. In
de inleiding wordt deze
zee in al haar glorie en
smart bezongen door een
melodie waarvan je
eigenlijk niet weet of je
er blij of verdrietig van
wordt. Dan gloort er
eindelijk hoop als het
water wordt ingedamd en
deels in polderland
verandert. Zo ontwikkelt
het dorp Dronten zich tot
een plaats waar twee
mensen elkaar op een dag
ontmoeten om de liefde te
vinden. Deze liefde wordt
weerspiegeld in het
langzame, gepassioneerde
middengedeelte. Het leven
in het dorp wordt met
blijdschap gevierd: de
levensvreugde spat er in
dit snelle deel van af en
wordt gevolgd
dooroptimistische,
vreugdevolle slotmaten.
Sea of
Hope ist ein
optimistisches Werk
über das neue Land,
das aus der
unbarmherzigen ehemaligen
Zuiderzee (Niederlande)
entstanden ist. In der
Einleitung wird das Meer
mit all seiner
Herrlichkeit und seinem
Leid durch eine Melodie
dargestellt, bei der man
sich fragt, ob sie
fröhlich oder traurig
macht. Dann gibt es
schließlich einen
Hoffnungsschimmer, als
das Wasser aufgestaut und
teilweise in eine
Polderlandschaft
umgewandelt wird. So
entwickelt sich die Stadt
Dronten zu einem Ort, an
dem sich eines Tages zwei
Menschen begegnen und
ineinander verlieben.
Diese Liebe wird in dem
langsamen und
leidenschaftlichen
mittleren Satz zum
Ausdruck gebracht. Das
gemeinsameneue Leben in
der Stadt wird
fröhlich gefeiert: Die
Lebensfreude kommt in
diesem Teil des Werkes
deutlich zum Ausdruck und
es folgen optimistische
und feierliche
Schlusstakte.
Sea of
Hope est une
Å“uvre optimiste
concernant la nouvelle
terre créée sur
l’ancienne
Zuiderzee (Pays-Bas).
Dans
l’introduction, la
mer est représentée
dans toute sa gloire et
dans sa douleur par une
mélodie qui évoque
toutes sortes
d’émotions
contradictoires. Ensuite,
enfin, on retrouve une
lueur d’espoir
lorsque l’eau est
barrée et une partie
de la terre est
transformée en polder.
Le développement de la
ville de Dronten, par
exemple, permet deux
personnes de se
rencontrer et de tomber
amoureux. Cet amour est
représenté par le
mouvement lent et
passionné du milieu.
La célébration de
cette nouvelle joie de
vivre de la ville
transparaît dans cette
partie de
l’œuvre,suivie
par les dernières
mesures optimistes et
festives. $157.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sea of Hope Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1185979-140 Composed by Jacob...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1185979-140
Composed by Jacob De
Haan. Concert and Contest
Collection CBHA. Concert
Piece. Score Only.
Composed 2018. 27 pages.
De Haske Publications
#DHP 1185979-140.
Published by De Haske
Publications
(BT.DHP-1185979-140).
English-German-French-
Dutch. Sea of
Hope is an optimistic
work about new land
arisen from the former
Zuiderzee (the
Netherlands). In the
introduction, the sea is
conveyed in all its glory
and ferocity, through a
melody that keeps you
wondering whether it
makes you happy or sad.
Then, finally, there is a
glimmer of hope, when the
water is dammed up and
the land partly reclaimed
(by conversion into
polder land). The town of
Dronten, for instance,
develops into a place
where one day two people
meet up and fall in love.
This love is reflected in
the slow, passionate
middle movement. New life
in the town is celebrated
joyfully: the zest for
life clearly shines
through this part of the
work, followed byoptimism
and celebration in the
closing bars.
Sea of
Hope is een
optimistisch werk over
nieuw land, ontstaan
vanuit de genadeloze
voormalige Zuiderzee. In
de inleiding wordt deze
zee in al haar glorie en
smart bezongen door een
melodie waarvan je
eigenlijk niet weet of je
er blij of verdrietig van
wordt. Dan gloort er
eindelijk hoop als het
water wordt ingedamd en
deels in polderland
verandert. Zo ontwikkelt
het dorp Dronten zich tot
een plaats waar twee
mensen elkaar op een dag
ontmoeten om de liefde te
vinden. Deze liefde wordt
weerspiegeld in het
langzame, gepassioneerde
middengedeelte. Het leven
in het dorp wordt met
blijdschap gevierd: de
levensvreugde spat er in
dit snelle deel van af en
wordt gevolgd
dooroptimistische,
vreugdevolle slotmaten.
Sea of
Hope ist ein
optimistisches Werk
über das neue Land,
das aus der
unbarmherzigen ehemaligen
Zuiderzee (Niederlande)
entstanden ist. In der
Einleitung wird das Meer
mit all seiner
Herrlichkeit und seinem
Leid durch eine Melodie
dargestellt, bei der man
sich fragt, ob sie
fröhlich oder traurig
macht. Dann gibt es
schließlich einen
Hoffnungsschimmer, als
das Wasser aufgestaut und
teilweise in eine
Polderlandschaft
umgewandelt wird. So
entwickelt sich die Stadt
Dronten zu einem Ort, an
dem sich eines Tages zwei
Menschen begegnen und
ineinander verlieben.
Diese Liebe wird in dem
langsamen und
leidenschaftlichen
mittleren Satz zum
Ausdruck gebracht. Das
gemeinsameneue Leben in
der Stadt wird
fröhlich gefeiert: Die
Lebensfreude kommt in
diesem Teil des Werkes
deutlich zum Ausdruck und
es folgen optimistische
und feierliche
Schlusstakte.
Sea of
Hope est une
Å“uvre optimiste
concernant la nouvelle
terre créée sur
l’ancienne
Zuiderzee (Pays-Bas).
Dans
l’introduction, la
mer est représentée
dans toute sa gloire et
dans sa douleur par une
mélodie qui évoque
toutes sortes
d’émotions
contradictoires. Ensuite,
enfin, on retrouve une
lueur d’espoir
lorsque l’eau est
barrée et une partie
de la terre est
transformée en polder.
Le développement de la
ville de Dronten, par
exemple, permet deux
personnes de se
rencontrer et de tomber
amoureux. Cet amour est
représenté par le
mouvement lent et
passionné du milieu.
La célébration de
cette nouvelle joie de
vivre de la ville
transparaît dans cette
partie de
l’œuvre,suivie
par les dernières
mesures optimistes et
festives. $31.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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