PARTITIONS GRATUITES : SAXOPHONE TéNOR
- You Raise Me Up: Score

Concert Band/Harmonie and Euphonium Solo - Grade 3

SKU: BT.1891-12-140-MS

Arranged by Takashi Hoshide. New Sounds for Concert Band. Solo & Concerto. Score Only. Composed 2011. 20 pages. Music Sales #1891-12-140 MS. Published by Music Sales (BT.1891-12-140-MS).

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

You Raise Me Up is a concert band arrangement of one of the most popular ballads of all time by Takashi Hoshide. Composed by Rolf Løvland, who, inspired by traditional Irish melodies, asked Irish author and lyricist Brendan Graham to provide lyrics, the song has become a worldwide hit through pop artists such as Josh Groban and Westlife. Featuring a solo for euphonium or baritone player.

De Noor Rolf Løvland van de groep Secret Garden componeerde een werk dat hij oorspronkelijk de titel Silent Story gaf. Het was gebaseerd op de melodie van de Ierse traditional Danny Boy. Løvland vroeg de Ierse tekst- en liedschrijverBrendan Graham woorden te bedenken bij zijn melodie. Het resultaat is You Raise Me Up dat in de vertolkingen van Josh Groban, de Ierse band Westlife en vele andere artiesten wereldwijd succes boekte. Takashi Hoshide maakte ereen roerende versie voor blaasorkest van.

Der Norweger Rolf Løvland von der Gruppe Secret Garden komponierte ein Stück, das er ursprünglich Silent Story nannte, nach der Melodie des irischen Traditionals Danny Boy und bat den irischen Schriftsteller und Liedtexter Brendan Graham um einen Text zu seiner Melodie. Das Resultat, You Raise Me Up, wurde mit Josh Groban, der irischen Band Westlife und anderen Künstlern zu einem weltweiten Erfolg. Takashi Hoshide setzte die gefühlvolle Ballade in ein Solostück für Euphonium/Bariton und Blasorchester um.

Le norvégien Rolf Løvland, membre du groupe Secret Garden, composa d’après un air traditionnel irlandais (Danny Boy), une chanson qu’il intitula dans un premier temps Silent Story. Il sollicita le parolier irlandais Brendan Graham d’écrire un texte pour cette mélodie. Le fantastique résultat, You Raise Me Up, est aujourd’hui la portée de tout orchestre gr ce l’émouvant arrangement réalisé par Takashi Hoshide pour euphonium solo et orchestre d’harmonie.

Il norvegese Rolf Løvland, membro del gruppo Secret Garden compone, ispirato da un’aria tradizionale irlandese (Danny Boy), una canzone che intitola in un primo tempo Silent Story. Chiede al paroliere irlandese Brendan Graham di scrivere un testo per questa melodia. Il fantastico risultato, You Raise Me Up, è oggi accessibile a tutte le orchestre di fiati grazie al coinvolgente arrangiamento firmato Takashi Hoshide.

Concert Band/Harmonie and Euphonium Solo - Grade 3

SKU: BT.1891-12-010-MS

Arranged by Takashi Hoshide. New Sounds for Concert Band. Solo & Concerto. Set (Score & Parts). Composed 2011. Music Sales #1891-12-010 MS. Published by Music Sales (BT.1891-12-010-MS).

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

You Raise Me Up is a concert band arrangement of one of the most popular ballads of all time by Takashi Hoshide. Composed by Rolf Løvland, who, inspired by traditional Irish melodies, asked Irish author and lyricist Brendan Graham to provide lyrics, the song has become a worldwide hit through pop artists such as Josh Groban and Westlife. Featuring a solo for euphonium or baritone player.

De Noor Rolf Løvland van de groep Secret Garden componeerde een werk dat hij oorspronkelijk de titel Silent Story gaf. Het was gebaseerd op de melodie van de Ierse traditional Danny Boy. Løvland vroeg de Ierse tekst- en liedschrijverBrendan Graham woorden te bedenken bij zijn melodie. Het resultaat is You Raise Me Up dat in de vertolkingen van Josh Groban, de Ierse band Westlife en vele andere artiesten wereldwijd succes boekte. Takashi Hoshide maakte ereen roerende versie voor blaasorkest van.

Der Norweger Rolf Løvland von der Gruppe Secret Garden komponierte ein Stück, das er ursprünglich Silent Story nannte, nach der Melodie des irischen Traditionals Danny Boy und bat den irischen Schriftsteller und Liedtexter Brendan Graham um einen Text zu seiner Melodie. Das Resultat, You Raise Me Up, wurde mit Josh Groban, der irischen Band Westlife und anderen Künstlern zu einem weltweiten Erfolg. Takashi Hoshide setzte die gefühlvolle Ballade in ein Solostück für Euphonium/Bariton und Blasorchester um.

Le norvégien Rolf Løvland, membre du groupe Secret Garden, composa d’après un air traditionnel irlandais (Danny Boy), une chanson qu’il intitula dans un premier temps Silent Story. Il sollicita le parolier irlandais Brendan Graham d’écrire un texte pour cette mélodie. Le fantastique résultat, You Raise Me Up, est aujourd’hui la portée de tout orchestre gr ce l’émouvant arrangement réalisé par Takashi Hoshide pour euphonium solo et orchestre d’harmonie.

Il norvegese Rolf Løvland, membro del gruppo Secret Garden compone, ispirato da un’aria tradizionale irlandese (Danny Boy), una canzone che intitola in un primo tempo Silent Story. Chiede al paroliere irlandese Brendan Graham di scrivere un testo per questa melodia. Il fantastico risultato, You Raise Me Up, è oggi accessibile a tutte le orchestre di fiati grazie al coinvolgente arrangiamento firmato Takashi Hoshide.

Composed by Rolf Lovland and Brendan Graham. Arranged by Bert Appermont. Beriato Music Instrumental. Pop and Rock. Set (Score and Parts). Composed 2020. Beriato Music #BMI19010704. Published by Beriato Music

Composed by Rolf Lovland and Brendan Graham. Arranged by Bert Appermont. Beriato Music Instrumental. Pop and Rock. Set (Score and Parts). Composed 2020. Beriato Music #BMI19010705. Published by Beriato Music

Composed by Rolf Lovland and Brendan Graham. Arranged by Bert Appermont. Beriato Music Instrumental. Pop and Rock. Set (Score and Parts). Composed 2020. Beriato Music #BMI19010703. Published by Beriato Music

(Score/Piano Acc.). Arranged by Victor López. For Score/Piano Acc.. Book; Mixed Instruments - Flexible Instrumentation. Pop Instrumental Ensembles. Pop/Rock. Grade 2.5; Grade 3. 48 pages. Published by Alfred Music Publishing

Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, English Horn, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3 and more.

SKU: PR.16500100F

Hymns for Wind Ensemble. Composed by Dan Welcher. Sws. Full score. 48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100F. Published by Theodore Presser Company (PR.16500100F).

ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.

Commissione d for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”cons tantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.