| Future of Tomorrow - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Cornet,
Cornet 2, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute,
Glockenspiel, Horn 1,
Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum and more. - Grade 3
SKU: CF.CPS245
Composed by Benjamin Yeo.
Folio. Cps. Set of Score
and Parts.
8+2+8+8+2+4+4+4+4+2+4+4+4
+4+6+6+4+4+8+2+2+1+4+1+2+
24 pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CPS245.
Published by Carl Fischer
Music (CF.CPS245).
ISBN 9781491158128.
UPC: 680160916726. 9 x 12
inches. ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo. $85.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Future of Tomorrow - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Cornet,
Cornet 2, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute,
Glockenspiel, Horn 1,
Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum and more. - Grade 3
SKU: CF.CPS245F
Composed by Benjamin Yeo.
Sws. Cps. Full score. 24
pages. Carl Fischer Music
#CPS245F. Published by
Carl Fischer Music
(CF.CPS245F). ISBN
9781491158135. UPC:
680160916733. 9 x 12
inches. ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ode To Joy Orchestre d'harmonie - Intermédiaire C.L. Barnhouse
Grade 3 SKU: CL.026-4894-00 Theme from 9th Symphony, Mvt. 4. Arran...(+)
Grade 3 SKU:
CL.026-4894-00
Theme from 9th
Symphony, Mvt. 4.
Arranged by Stanton.
Concert Band.
Build-A-Band. Score and
set of parts. Composed
2020. Duration 2 minutes,
48 seconds. C.L.
Barnhouse #026-4894-00.
Published by C.L.
Barnhouse
(CL.026-4894-00).
Your band will
sound BIG on this setting
of Ode To Joy scored
especially for bands with
limited or unbalanced
instrumentation. As
conductor, you get to
create a unique band
sound using the strengths
of your instrumentation
and following the
suggested flexible
interplay between
sections. All players
will appreciate that they
get to share the melodic
spotlight. Optional parts
for guitar, piano, bass
and percussion can be
utilized to fill in the
band using the
Build-A-Band format. This
flexible system of
scoring really works! A
good choice for a massed
band of elementary,
middle and high school
musicians. First
class!
About
Build-A-Band
Series The
Build-A-Band Series
provides educational and
enjoyable music for bands
with incomplete or
unbalanced
instrumentation. Written
using just four or five
parts (plus percussion),
these effective
arrangements will work
with any combination of
brass, woodwind, string
and percussion
instruments as long as
you distribute the parts
so that each of the five
parts is covered. All of
the publications in the
Build-A-Band Series have
been arranged to be
playable with any
instrumentation as long
as each part is used: 1st
Part, 2nd Part, 3rd Part,
4th Part, and Bass Part.
(Please note: In some of
these arrangements the
4th Part, and the Bass
Part are the same, making
it possible to play those
arrangements with only 4
parts.) $60.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Fantasia Nova Orchestre d'harmonie - Avancé Manhattan Beach Music
Concert band - Grade 5 SKU: MH.1-59913-082-3 Composed by Bob Margolis. Su...(+)
Concert band - Grade 5
SKU:
MH.1-59913-082-3
Composed by Bob Margolis.
Suitable for community
bands, high school bands,
and college bands. 14
minutes duration if
played as a suite; or
movements 1 or 3 may be
performed separately.
Conductor score and set
of parts. Duration 14:00.
Published by Manhattan
Beach Music
(MH.1-59913-082-3).
ISBN
9781599130828. Fant
asia Nova is a suite
comprising two concert
marches and a slow,
middle movement that
derives its themes from
both marches. Ragtime
(composed in early
September, 1978) is a new
from old sort of piece.
Although its tunefulness
and harmonies have an
old-fashioned character,
its structure,
development, and
orchestration are unusual
for a march. In the
chorale section (measures
111 - 148) the band
director must be very
careful in balancing, for
each of the elements must
come through. More
important is that the
audience be brought up by
this section -- filled
with a joyous exaltation;
great attention must be
paid to sonority and the
band must play earnestly.
Ragtime stands on its own
and may be performed
separately. Dreams
(composed in late
September, 1978) is the
traditional march of the
two. It is very closely
modeled (in structure
only) to Sousa's Stars
and Stripes Forever. It
even includes a tricky
piccolo solo, although
the accompaniment has a
chorale texture, almost
like a school alma mater.
This march has a
patriotic, inspirational
sound, because it was
composed for the town of
Irondequoit, New York --
for a Town March contest
held by the town's
community concert band.
It did not, so far as I
know, become the town's
march; one can hear the
name, Irondequoit,
throughout the Trio, for
every turn of the melody
(in fact, each group of
four notes) fits the
accent pattern
(Ih-RON-dih-kwoit) of the
town's name. Parade
stands on its own as a
complete work and may be
performed separately.
Ensemble instrumentation:
1 Piccolo, 6 Flutes, 2
1st & 2nd Oboes, 1
English Horn, 1 Eb
Clarinet, 3 1st Bb
Clarinet, 3 2nd Bb
Clarinet, 3 3rd Bb
Clarinet, 1 Eb Alto
Clarinet, 2 Bb Bass
Clarinet, 1 Eb Contrabass
Clarinet (optional), 2
1st & 2nd Bassoons, 1
Contrabassoon (optional),
1 1st Eb Alto Saxophone,
1 2nd Eb Alto Saxophone,
1 Bb Tenor Saxophone, 1
Eb Baritone Saxophone, 3
1st Bb Cornets, 3 2nd Bb
Cornets, 3 3rd Bb
Cornets, 1 1st Horn in F,
1 2nd Horn in F, 2 3rd
and 4th Horns in F, 2 1st
Trombones, 2 2nd
Trombones, 2 3rd
Trombones, 1 Euphonium
(Treble Clef), 2
Euphonium (Bass Clef), 4
Tuba, 1 String Bass, 1
Timpani (Triangle), 5
Percussion. $125.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Nordanvind Orchestre d'harmonie - Intermédiaire/avancé Carl Fischer
Band concert band - Grade 4.5 SKU: CF.SPS71 Composed by Carl Strommen. Se...(+)
Band concert band - Grade
4.5 SKU: CF.SPS71
Composed by Carl
Strommen. Set of Score
and Parts. With Standard
notation.
2+16+4+8+8+8+4+4+2+4+4+4+
4+6+6+6+4+4+4+4+6+6+6+6+4
+8+3+2+12+2+4+28 pages.
Duration 6 minutes, 26
seconds. Carl Fischer
Music #SPS71. Published
by Carl Fischer Music
(CF.SPS71). ISBN
9781491143544. UPC:
680160901043. Key: G
minor. Nordanvind
is a tour de force
symphonic rhapsody that
is built on three
Scandinavian folk songs.
Composer Carl Strommen
has composed these
Viking-influenced
melodies into a concert
setting that brings out
all of the history of the
Scandinavian people. The
piece is at times bold
and aggressive, at other
times beautiful. Carl
employs all of the
instrumental colors of
the concert band to
create a new work for
more advanced
ensembles. Modern
Scandinavians are
descendants of the
Vikings, an adventuresome
people who were known for
their love of the sea,
their naval prowess, and
as fierce fighters . The
Scandinavian Vikings were
warriors from Denmark,
Norway, and Sweden who
traded, raided and
settled in various parts
of Europe, Russia, the
North Atlantic islands,
and the northeastern
coast of North America
.Starting around 1850,
over one million Swedes
left their homeland for
the United States in
search of religious
freedom and open farm
land . Augustana College
was founded in 1860 by
graduates of Swedish
universities and is
located on the
Mississippi River in Rock
Island, Illinois . Home
of the
“Vikings,â€
Augustana College is the
oldest Swedish- American
institution of higher
learning in the United
States . This powerful
and lively piece takes
inspiration from Swedish
history and from Swedish
folk songs and hymns
.Havsdrake (Dragon of the
Sea)The Nordanvind or
“North Windâ€
blows a cold wind during
a journey of a group of
courageous Viking rowers
. The
“Dragon-shipâ€
or long ships designed
for raiding and war was a
sophisticated, fast ship
able to navigate in very
shallow water . To
musically portray these
magnificent seafaring
vessels, the director is
encouraged to use an
Ocean Drum (or a rain
stick) during the
introduction . Wind
players may consider
blowing air through their
instruments to suggest
the North wind . Adding
men’s voices to
accompany the haunting
low brass and percussive
“rowerâ€
sounds can be helpful in
creating the dark and
ominous portrayal of
Viking adventurers
.Slangpolska efter Byss -
KalleIn Sweden, a
“polska†is a
partner dance where the
dancers spin each other
(släng in Swedish
“to sling or
tossâ€) .
Slangpolska efter Byss -
Kalle is attributed to
Byss-Kalle, who was a
notable Swedish folk
musician, specifically a
nyckelharpa player .
Slangpolska efter Byss -
Kalle is a traditional
“polskaâ€
dance song most often
played on the Nyckelharpa
or keyed fiddle and is
commonly heard in pubs
and at festive events
throughout Sweden .
Approximately 10,000
nyckelharpa players live
in Sweden today, and the
Swedish and the American
Nyckelharpa Associations
are dedicated to this
Swedish National
instrument . The director
is encouraged to share
video and audio examples
of the nyckelharpa
playing the original
Slangpolska efter Byss -
Kalle .Tryggare Kan Ingen
Vara (Children of the
Heavenly Father)Tryggare
Kan Ingen Vara Is a
traditional Swedish
melody, possibly of
German roots, and was
believed to be arranged
as a hymn by the Swedish
hymn writer, Karolina
Wilhelmina Sandell-Berg
(1832–1903) . As a
daughter of a Swedish
Lutheran minister, she
began writing poems as a
teenager and is said to
have written over 1,700
different texts . There
are two different
accounts as to the
inspiration for this hymn
. The first story is that
Lina (as she was called)
wrote the hymn to honor
her father and to say
thank you to him for
raising her and
protecting her . A second
belief is of her
witnessing the tragic
death of her father . She
and her father were on a
boat, when a wave threw
her father overboard . It
was said that the
profound effect of
watching her father drown
is what caused Lina to
write the text to this
hymn . Although this is a
treasured song to people
of Swedish descent
everywhere, it speaks to
all people about a father
tending and nourishing
his children, and
protecting them from evil
.SPS71FThe Augustana
College Concert
BandFounded in 1874, the
Augustana Band program is
one of the oldest
continuously active
collegiate band programs
in the country . The
Concert Band is one of
two bands on campus and
was formed more than
thirty years ago . The
Concert Band attracts
students of every skill
level and from a wide
variety of majors .
Students in the ensemble
play a large part in
choosing their music for
performance, which
include works from the
standard repertoire,
orchestral
transcriptions, and the
latest compositions from
leading composers .Rick
Jaeschke began his
musical career as a
clarinet player in the
1st US Army Band . He
received a Bachelor of
Music degree from
Susquehanna University, a
Masters of Music from
James Madison University,
and a doctorate from
Columbia University in
New York . He was also
fortunate to study
conducting with Donald
Hunsburger and with
Frederick Fennell .Dr .
Jaeschke taught band and
choir at Great Mills High
School in Southern
Maryland, and for fifteen
years, he was the
district Music Supervisor
in Armonk, New York,
where he taught high
school concert and jazz
bands, beginning band,
and music technology .
During that time, the
music program flourished,
and the high school band
consistently received
Gold Medals in the New
York State Festivals, as
well as in national, and
international festivals .
As a clarinet and
saxophone player, Dr .
Jaeschke performed in the
New York metropolitan
area with the Rockland
Symphony Orchestra, the
Putnam Symphony
Orchestra, Fine Arts
Symphony Orchestra, and
served as the concert
master for the Hudson
Valley Wind Symphony .For
several years, Dr .
Jaeschke served as the
Fine Arts Coordinator for
the District 204 schools
in Naperville, IL, a
district selected as One
of the Best 100 Schools
in America for Music .
Currently, Dr . Jaeschke
is an Associate Professor
at Augustana College
where he teaches music
and music education
courses, and directs the
Concert Band . He has
served on various
educational boards, is a
National edTPA scorer,
and has presented at
state, national and
international music
conferences . He lives
with his family in
Bettendorf Iowa, and
enjoys any opportunity to
explore the open water in
his sea kayak . $125.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Snow Lay On the Ground: Nine Festive Carol Settings (Score & CD Bundle) - Facile Schirmer
Choir and various instruments - Early Intermediate SKU: EC.8286P Composed...(+)
Choir and various
instruments - Early
Intermediate SKU:
EC.8286P Composed by
Julian Wachner. Choral
Collection. Christmas,
Lessons and Carols, 21st
Century. Book & CD. E.C.
Schirmer Publishing
#8286P. Published by E.C.
Schirmer Publishing
(EC.8286P). ISBN
600313482861. UPC:
600313482861. A
collection of nine
festive Christmas carol
arrangements regularly
used by the Washington
Chorus and at Trinity
Church, on Wall Street in
New York City. From the
ebullient jubilation of
Joy to the World and
Angels We Have Heard on
High to the expansive and
sweet Un Flambeau and
Silent Night, this new
collection presents the
best of Julian Wachner's
stunning and varied
redressing of these
traditional tunes.
Intended for full
audience participation
with the support of
choir, organ, brass, and
percussion, all of the
arrangements in this
collection also serve the
needs of more modest
presentations with the
included keyboard
reductions. In either
form, the collection
provides an excellent
foundation for a
traditional service of
Lessons and Carols or for
an energetic concert of
holiday
favorites!
Content
s: O Come, O Come
Emmanuel Hark, the
Herald Angels Sing Un
Flambeau Angels We
Have Heard On High The
Snow Lay On the
Ground Nino
lindo The First
Nowell Silent
Night Joy to the World
![accompaniment](/media/wysiwyg/8286ac) . $20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Acclamations Orchestre d'harmonie - Intermédiaire C.L. Barnhouse
Grade 3 SKU: CL.026-4069-01 Composed by Huckeby. Concert Band. Build-A-Ba...(+)
Grade 3 SKU:
CL.026-4069-01
Composed by Huckeby.
Concert Band.
Build-A-Band. Extra full
score. Composed 2011.
Duration 4 minutes, 49
seconds. C.L. Barnhouse
#026-4069-01. Published
by C.L. Barnhouse
(CL.026-4069-01).
This spirited
work by Ed Huckeby
features unique rhythmic
accompaniment rhythms in
the lower parts
contrasted with simple,
but musically effective
upper voice melodic
lines. The moderato
middle section utilizes
subtle syncopation to
create a pleasant
contemporary character.
Ed's medium-easy
arrangement for the
Build-A-Band Series makes
it playable with very
small bands and bands
with severe
instrumentation issues,
and insures that it will
be a favorite concert and
contest selection for
years to come for these
groups. As usual with
this series, optional
parts are included for
percussion and
keyboards.
About
Build-A-Band
Series The
Build-A-Band Series
provides educational and
enjoyable music for bands
with incomplete or
unbalanced
instrumentation. Written
using just four or five
parts (plus percussion),
these effective
arrangements will work
with any combination of
brass, woodwind, string
and percussion
instruments as long as
you distribute the parts
so that each of the five
parts is covered. All of
the publications in the
Build-A-Band Series have
been arranged to be
playable with any
instrumentation as long
as each part is used: 1st
Part, 2nd Part, 3rd Part,
4th Part, and Bass Part.
(Please note: In some of
these arrangements the
4th Part, and the Bass
Part are the same, making
it possible to play those
arrangements with only 4
parts.) $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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