SKU: BT.DHP-1012571-707
ISBN 9789043112499. English-German-French-Dutch.
The BAND TIME series consists of a number of books containing easy pieces suitable for youth band. BAND TIME Starter is intended for the first year of band playing and includes four-part pieces in many different styles. The difficulty of the pieces increases in parallel with the material covered in the first part of the Look, Listen and Learn method. The first three works, however, are three-part pieces in order to accommodate the limited range of notes available at this stage. The BAND TIME series is suitable for various combinations of instruments provided that the parts are divided in a sensible way (for concert band, fanfare band or brass band). The material for altosaxophone, trombone and baritone/euphonium/bass clarinet is divided into parts 1 and 2 in order to cover all voices using the most popular instruments. De serie Band Time is ontwikkeld om kinderen vroeg kennis te laten maken met het samenspel in een blaasorkest. Band time Starter maakt dit al in het eerste jaar mogelijk. Deze uitgave bevat vierstemmige stukken in diversestijlen- de eerste drie stukken zijn drie stemmig, aangespast aan de vaardigheden van de beginnende leerling. De moeilijkheidsgraad en de muzikale inhoud zijn gebasseerd op Horen, Lezen and Spelen. In de partituur staatuitgelegd hoe u de serie optimaal benut en hoe de instrumentatie in uw specifieke bezetting het best kan worden toegepast. Op de los verkrijgbare cd worden de stukken door een harmonieorkest voorgespeeld, zodat de leerlingen thuiseen goede indruk krijgen van hoe de stukken klinken. Ze kunnen zelf meespelen of ernaar luisteren. Dit zal de motifatie (en het studieresultaat) bevorderen.Parallel zu den ersten Stunden Instrumentalunterricht werden die jungen Musiker mit den Stücken dieser Sammlung für das Spielen im Anfängerorchester motiviert. BAND TIME Starter eignet sich für das erste Jahr im Blasorchester und enthält vierstimmige Stücke in vielen verschiedenen Stilen. Der allmählich fortschreitende Schwierigkeitsgrad entspricht dem Stoff der Bläserschule Hören, lesen und spielen Band 1, kann aber auch gut unabhängig davon eingesetzt werden. Die ersten drei Stücke passen sich mit ihren lediglich drei Stimmen dem noch begrenzten Tonumfang an, über den die Schüler in diesem Stadium verfügen. Aus dem gleichen Grund weichen manchmaldieselben Stimmen für unterschiedliche Instrumente leicht voneinander ab. Geringfügige Abweichungen erklären sich au�erdem aus manchen besonderen Bedingungen bei einem bestimmten Instrument, zum Beispiel schwierige Tonfolgen. Passend zu der Reihe ist eine CD erhältlich, mit deren Unterstützung die Schüler zu Hause mit richtiger Orchesterbegleitung spielen können. Ein schnellerer Erfolg ist damit gesichert! L'Obiettivo della collana BAND TIME è quello di motivare i giovani musicisti a suonare in una banda principiante o giovanile. BAND TIME Starter e il suo seguito BAND TIME Expert, come anche i brani natalizi raccolti in BAND TIME Christmas propongono brani in vari generi musicali che seguono il livello di difficolt crescente proposto del metodo Ascolta, leggi and suona (possono essere usati anche separatamente). I brani sono eseguibili gi a partire da un organico di tre o quattro elementi. per ogni collana è disponibile separatamente un CD con gli accompagnamenti orchestrali. Per la lista degli strumenti disponibili visitate il nostro sito.
SKU: HL.49045907
ISBN 9783795710507. UPC: 888680792671. 9.0x12.0x0.239 inches.
The Easy Concert Pieces series for alto saxophone and piano provide easy to intermediate pieces from the Renaissance to the modern era for music lessons, concert performances or private music-making. The volumes with accompanying CD add to the not very extensive repertoire of performance pieces for saxophone. They were carefully selected according to technical and musical requirements and arearranged in three volumes according to their level of difficulty. All pieces are included on the accompanying CD as demo and play-along versions (piano accompaniment). The piano part contained in the volume is very easy so that it can even be played by a pupil, e.g. at a music school concert. Volume 1 (ED 22553) contains easy pieces which mainly range from d' to c'', occasionally even to d'''. The keys range from C to D major or the respective minor keys. This volume contains works by Charpentier, Vivaldi, Handel, Bach, Haydn, Mozart, Beethoven, Smetana, Putz, Moser, and others. Volume 2 (ED 22554) contains intermediate pieces ranging from c' to e''', with unusual metres and demisemiquavers appearing occasionally. Including works by Wolkenstein, Peuerl, Schein, Purcell, Telemann, Handel, Mozart, Beethoven, Gounod, Humperdinck, Elgar, and others. Volume 3 (ED 22942) - in preparation: Will contain pieces at even higher levels of difficulty and add further works to the repertoire.
SKU: HL.48183857
UPC: 888680861193. 0.11 inches.
“Spanish pianist and composer, Isaac Albéniz (1860-1909) was a child prodigy. He passed the Piano entrance exam for the Paris Conservatoire at age seven, but he was refused entry due to his young age. He composed many works containing Spanish influence, Three Pieces for Saxophone Quartet being no exception. When he was 16, Albéniz studied at the Leipzig Conservatory and the Royal Conservatory of Brussels. His concert career saw him perform all over the world. The Three Pieces are, 1) Love Song, 2) Berceuse, and 3) Summer. This collection, adapted for Saxophone Quartet by Marcel Mule is a sublime addition to the ensemble's repertoire. â€.
SKU: HL.44001734
ISBN 9789043112475. UPC: 073999017342. 9.0x12.0x0.138 inches.
The BAND TIME series consists of a number of books containing easy pieces suitable for youth band. BAND TIME Starter is intended for the first year of band playing and includes four-part pieces in many different styles. The difficulty of the pieces increases in parallel with the material covered in the first part of the Look, Listen & Learn method. The first three works, however, are three-part pieces in order to accommodate the limited range of notes available at this stage. The BAND TIME series is suitable for various combinations of instruments provided that the parts are divided in a sensible way (for concert band, fanfare band or brass band). The material for altosaxophone, trombone and baritone/euphonium/bass clarinet is divided into parts 1 and 2 in order to cover all voices using the most popular instruments. De serie Band Time is ontwikkeld om kinderen vroeg kennis te laten maken met het samenspel in een blaasorkest. Band time Starter maakt dit al in het eerste jaar mogelijk. Deze uitgave bevat vierstemmige stukken in diversestijlen- de eerste drie stukken zijn drie stemmig, aangespast aan de vaardigheden van de beginnende leerling. De moeilijkheidsgraad en de muzikale inhoud zijn gebasseerd op Horen, Lezen & Spelen. In de partituur staatuitgelegd hoe u de serie optimaal benut en hoe de instrumentatie in uw specifieke bezetting het best kan worden toegepast. Op de los verkrijgbare cd worden de stukken door een harmonieorkest voorgespeeld, zodat de leerlingen thuiseen goede indruk krijgen van hoe de stukken klinken. Ze kunnen zelf meespelen of ernaar luisteren. Dit zal de motifatie (en het studieresultaat) bevorderen.Parallel zu den ersten Stunden Instrumentalunterricht werden die jungen Musiker mit den Stucken dieser Sammlung fur das Spielen im Anfangerorchester motiviert. BAND TIME Starter eignet sich fur das erste Jahr im Blasorchester und enthalt vierstimmige Stucke in vielen verschiedenen Stilen. Der allmahlich fortschreitende Schwierigkeitsgrad entspricht dem Stoff der Blaserschule Horen, lesen und spielen Band 1, kann aber auch gut unabhangig davon eingesetzt werden. Die ersten drei Stucke passen sich mit ihren lediglich drei Stimmen dem noch begrenzten Tonumfang an, uber den die Schuler in diesem Stadium verfugen. Aus dem gleichen Grund weichen manchmaldieselben Stimmen fur unterschiedliche Instrumente leicht voneinander ab. Geringfugige Abweichungen erklaren sich ausserdem aus manchen besonderen Bedingungen bei einem bestimmten Instrument, zum Beispiel schwierige Tonfolgen. Passend zu der Reihe ist eine CD erhaltlich, mit deren Unterstutzung die Schuler zu Hause mit richtiger Orchesterbegleitung spielen konnen. Ein schnellerer Erfolg ist damit gesichert! L'Obiettivo della collana BAND TIME e quello di motivare i giovani musicisti a suonare in una banda principiante o giovanile. BAND TIME Starter e il suo seguito BAND TIME Expert, come anche i brani natalizi raccolti in BAND TIME Christmas propongono brani in vari generi musicali che seguono il livello di difficolta crescente proposto del metodo Ascolta, leggi & suona (possono essere usati anche separatamente). I brani sono eseguibili gia a partire da un organico di tre o quattro elementi. per ogni collana e disponibile separatamente un CD con gli accompagnamenti orchestrali. Per la lista degli strumenti disponibili visitate il nostro sito.
SKU: HL.4007906
Three works with quotations from well-known composers are contained in this tongue-in-cheek collection. Otto M. Schwarz has produced an outstanding recording of these works with members of the Slovak Philharmonic, which is available on all streaming and download platforms. 1. THE AMADEUS WATCH: Wolfgang Amadeus Mozart's own watch - if he had one - ticks away. The ticking carries us back in time with a piece that stylistically imitates the music of the 18th century in melody, harmony and rhythm. 2. COMPOSERS DINNER IN HEAVEN: At the music publisher De Haske, a composers' dinner was an integral part of trade fairs or meetings. The dinner was very popular among anyone who sat at it, not least of all because it offered one the opportunity to chat informally. Based on such a meeting, Otto M. Schwarz has composed a work that describes an imaginary dinner of great classical masters on a cloud in the sky. Guess which composers are present by the references in the form of musical quotations and stylistic devices! 3. SCHERZO FOR WOOD QUARTET: The work, in 12/8 time, moves in a rapid furioso. Underscored by a continuous eighth note rhythm, the work creates in the listener the sensation of a frantic rollercoaster ride. The theme moves throughout all the parts, and following a chromatically moving chord sequence, ends in a dramatic crescendo.
SKU: HL.50601598
8.0x11.75 inches.
The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996.In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from thecomposer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development,recapitulation and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with soniceffects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova).
SKU: XC.WB2205
ISBN 9781644021040. 12 x 9 inches.
The resurgence of the Sea Shanty as a cultural phenomenon in 2020 was a perfect flashpoint for this collection of 16 well-known and re-discovered shanties. Arranger Tyler Arcari uses his experience at writing flexible music that works to bring this new addition to your adaptable library. Playable with as little as three musicians or expandable to an entire concert ensemble; these Shanties bring a whole new meaning to the phrase All Hands on Deck. The Adaptable Ensemble Series has become a well-established resource for chamber music and this new edition is in top shipshape order.
SKU: BT.DHP-1012570-706
ISBN 9789043112482. English-German-French-Dutch.
The BAND TIME series consists of a number of books containing easy pieces suitable for youth band. BAND TIME Starter is intended for the first year of band playing and includes four-part pieces in many different styles. The difficulty of the pieces increases in parallel with the material covered in the first part of the Look, Listen & Learn method. The first three works, however, are three-part pieces in order to accommodate the limited range of notes available at this stage. The BAND TIME series is suitable for various combinations of instruments provided that the parts are divided in a sensible way (for concert band, fanfare band or brass band). The material for altosaxophone, trombone and baritone/euphonium/bass clarinet is divided into parts 1 and 2 in order to cover all voices using the most popular instruments. De serie Band Time is ontwikkeld om kinderen vroeg kennis te laten maken met het samenspel in een blaasorkest. Band time Starter maakt dit al in het eerste jaar mogelijk. Deze uitgave bevat vierstemmige stukken in diversestijlen- de eerste drie stukken zijn drie stemmig, aangespast aan de vaardigheden van de beginnende leerling. De moeilijkheidsgraad en de muzikale inhoud zijn gebasseerd op Horen, Lezen & Spelen. In de partituur staatuitgelegd hoe u de serie optimaal benut en hoe de instrumentatie in uw specifieke bezetting het best kan worden toegepast. Op de los verkrijgbare cd worden de stukken door een harmonieorkest voorgespeeld, zodat de leerlingen thuiseen goede indruk krijgen van hoe de stukken klinken. Ze kunnen zelf meespelen of ernaar luisteren. Dit zal de motifatie (en het studieresultaat) bevorderen.Parallel zu den ersten Stunden Instrumentalunterricht werden die jungen Musiker mit den Stücken dieser Sammlung für das Spielen im Anfängerorchester motiviert. BAND TIME Starter eignet sich für das erste Jahr im Blasorchester und enthält vierstimmige Stücke in vielen verschiedenen Stilen. Der allmählich fortschreitende Schwierigkeitsgrad entspricht dem Stoff der Bläserschule Hören, lesen und spielen Band 1, kann aber auch gut unabhängig davon eingesetzt werden. Die ersten drei Stücke passen sich mit ihren lediglich drei Stimmen dem noch begrenzten Tonumfang an, über den die Schüler in diesem Stadium verfügen. Aus dem gleichen Grund weichen manchmaldieselben Stimmen für unterschiedliche Instrumente leicht voneinander ab. Geringfügige Abweichungen erklären sich außerdem aus manchen besonderen Bedingungen bei einem bestimmten Instrument, zum Beispiel schwierige Tonfolgen. Passend zu der Reihe ist eine CD erhältlich, mit deren Unterstützung die Schüler zu Hause mit richtiger Orchesterbegleitung spielen können. Ein schnellerer Erfolg ist damit gesichert! L'Obiettivo della collana BAND TIME è quello di motivare i giovani musicisti a suonare in una banda principiante o giovanile. BAND TIME Starter e il suo seguito BAND TIME Expert, come anche i brani natalizi raccolti in BAND TIME Christmas propongono brani in vari generi musicali che seguono il livello di difficolt crescente proposto del metodo Ascolta, leggi & suona (possono essere usati anche separatamente). I brani sono eseguibili gi a partire da un organico di tre o quattro elementi. per ogni collana è disponibile separatamente un CD con gli accompagnamenti orchestrali. Per la lista degli strumenti disponibili visitate il nostro sito.
SKU: BT.DHP-1012568-704
ISBN 9789043112468. English-German-French-Dutch.
SKU: HL.49047388
ISBN 9783795729349. UPC: 196288210818. 9.0x12.0x0.157 inches.
The Easy Concert Pieces series for alto saxophone and piano provides easy to intermediate pieces from the Renaissance to the modern era for music lessons, concert performances or private music-making. The volumes with accompanying audio recording add to the not very extensive repertoire of performance pieces for saxophone. They were carefully selected according to technical and musical requirements and are arranged in three volumes according to their level of difficulty. All pieces are included in the accompanying mp3 pack as demo and play-along versions (piano accompaniment). The piano part contained in the volume is very easy so that it can even be played by a pupil, e.g. at a music school concert. Volume 1 (ED 22553) contains easy pieces which mainly range from d' to c''', occasionally even to d'''. The keys range from C to D major or the respective minor keys. This volume contains works by Charpentier, Vivaldi, Handel, Bach, Haydn, Mozart, Beethoven, Smetana, Pütz, Moser, and others. Volume 2 (ED 22554) contains intermediate pieces ranging from c' to e''', with unusual metres and demisemiquavers appearing occasionally. Including works by Wolkenstein, Peuerl, Schein, Purcell, Telemann, Handel, Mozart, Beethoven, Gounod, Humperdinck, Elgar, and others. Volume 3 (ED 22942) in preparation: Will contain pieces at even higher levels of difficulty and add further works to the repertoire.
SKU: HL.44001732
ISBN 9789043112444. UPC: 073999711929. 9.0x12.0x0.139 inches.
SKU: HL.44001735
ISBN 9789043112550. UPC: 073999222913. 9.0x12.0x0.143 inches.
SKU: HL.44001727
ISBN 9789043113250. UPC: 073999266153. 9.0x12.0x0.151 inches.
The BAND TIME series consists of a number of books containing easy pieces suitable for youth band. BAND TIME Starter is intended for the first year of band playing and includes four-part pieces in many different styles. The difficulty of the pieces increases in parallel with the material covered in the first part of the Look, Listen & Learn method. The first three works, however, are three-part pieces in order to accommodate the limited range of notes available at this stage. The BAND TIME series is suitable for various combinations of instruments provided that the parts are divided in a sensible way (for concert band, fanfare band or brass band). The material for altosaxophone, trombone and baritone/euphonium/bass clarinet is divided into parts 1 and 2 in order to cover all voices using the most popular instruments. De serie Band Time is ontwikkeld om kinderen vroeg kennis te laten maken met het samenspel in een blaasorkest. Band time Starter maakt dit al in het eerste jaar mogelijk. Deze uitgave bevat vierstemmige stukken in diversestijlen- de eerste drie stukken zijn drie stemmig, aangespast aan de vaardigheden van de beginnende leerling. De moeilijkheidsgraad en de muzikale inhoud zijn gebasseerd op Horen, Lezen & Spelen. In de partituur staatuitgelegd hoe u de serie optimaal benut en hoe de instrumentatie in uw specifieke bezetting het best kan worden toegepast. Op de los verkrijgbare cd worden de stukken door een harmonieorkest voorgespeeld, zodat de leerlingen thuiseen goede indruk krijgen van hoe de stukken klinken. Ze kunnen zelf meespelen of ernaar luisteren. Dit zal de motifatie (en het studieresultaat) bevorderen.Parallel zu den ersten Stunden Instrumentalunterricht werden die jungen Musiker mit den Stucken dieser Sammlung fur das Spielen im Anfangerorchester motiviert. BAND TIME Starter eignet sich fur das erste Jahr im Blasorchester und enthalt vierstimmige Stucke in vielen verschiedenen Stilen. Der allmahlich fortschreitende Schwierigkeitsgrad entspricht dem Stoff der Blaserschule Horen, lesen und spielen Band 1, kann aber auch gut unabhangig davon eingesetzt werden. Die ersten drei Stucke passen sich mit ihren lediglich drei Stimmen dem noch begrenzten Tonumfang an, uber den die Schuler in diesem Stadium verfugen. Aus dem gleichen Grund weichen manchmaldieselben Stimmen fur unterschiedliche Instrumente leicht voneinander ab. Geringfugige Abweichungen erklaren sich ausserdem aus manchen besonderen Bedingungen bei einem bestimmten Instrument, zum Beispiel schwierige Tonfolgen. Passend zu der Reihe ist eine CD erhaltlich, mit deren Unterstutzung die Schuler zu Hause mit richtiger Orchesterbegleitung spielen konnen. Ein schnellerer Erfolg ist damit gesichert!
SKU: 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,†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 Wind†blows a cold wind during a journey of a group of courageous Viking rowers . The “Dragon-ship†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 “rower†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 “polska†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 .
SKU: CF.SPS78
ISBN 9781491152553. UPC: 680160910052. Key: Bb major.
Festival March is presented in a new edition arranged by Richard Summers. It is a tour de force composition for advanced bands and hearkens back to a bygone era during the golden age of the band movement. Directors and students will hear operatic music from composer Victor Herbert who is best known for his Christmas classic, Toyland. This is a richly scored masterpiece that deserves to return to standard status in concert band repertoire. We are proud to bring you this new setting of this cherished classic.Festival March by Victor Herbert was written for the Pittsburgh Symphony and first performed under Herbert’s direction in Chicago on Dec. 9, 1901 celebrating the 12th anniversary of Chicago’s Auditorium Theatre. Also known as the Auditorium Festival March, he included it many times for programs of a festival nature. The main theme Auld Lang Syne, a famous Scottish folk song, is incorporated many times along with brass fanfares, interludes and march melodies. This band arrangement is very similar to the original orchestral composition. The missing string parts, the addition of the saxophone section and other band instruments, editing of the superimposed triplets against sixteenth notes, to one or the other, and articulations suitable for the band, were major challenges. The style of early twentieth-century American music is captured here. This arrangement will give band musicians access to a fine piece of music that could only be appreciated by orchestra musicians up to now. Although suitable for many occasions, this piece is a great way to begin or end a December holiday concert.  Notes to the ConductorVictor Herbert’s music can be interpreted in a romantic style, which is the conductor’s responsibility to read in nuance and musicality. The beginning and other triple-tonguing sections of this piece have a March of the Toys quality to it.  The interludes and Auld Lang Syne sections are legato and musical. The March sections can also be shaped musically.About the ComposerVictor Herbert was born in Ireland in 1861 and raised in Germany. When he moved to America in 1886, he joined the Metropolitan Opera as principal cellist and eventually composed many works including forty-three operettas on Broadway from the 1890s to World War I, including Naughty Marietta and Babes in Toyland. Victor Herbert conducted the Pittsburgh Symphony from 1898 to 1904 and then was the conductor of his own Victor Herbert Orchestra. He formed ASCAP with a group of composers in 1914 and was the director until his death in 1924. Among his thirty-one compositions for orchestra, Festival March was a favorite of his and was eventually published by Carl Fischer Music.  .
SKU: CF.SPS78F
ISBN 9781491153239. UPC: 680160910731.
Festival March is presented in a new edition arranged by Richard Summers. It is a tour de force composition for advanced bands and hearkens back to a bygone era during the golden age of the band movement. Directors and students will hear operatic music from composer Victor Herbert who is best known for his Christmas classic, Toyland. This is a richly scored masterpiece that deserves to return to standard status in concert band repertoire. We are proud to bring you this new setting of this cherished classic.About the CompositionFestival March by Victor Herbert was written for the Pittsburgh Symphony and first performed under Herbert’s direction in Chicago on Dec. 9, 1901 celebrating the 12th anniversary of Chicago’s Auditorium Theatre. Also known as the Auditorium Festival March, he included it many times for programs of a festival nature. The main theme Auld Lang Syne, a famous Scottish folk song, is incorporated many times along with brass fanfares, interludes and march melodies. This band arrangement is very similar to the original orchestral composition. The missing string parts, the addition of the saxophone section and other band instruments, editing of the superimposed triplets against sixteenth notes, to one or the other, and articulations suitable for the band, were major challenges. The style of early twentieth-century American music is captured here. This arrangement will give band musicians access to a fine piece of music that could only be appreciated by orchestra musicians up to now. Although suitable for many occasions, this piece is a great way to begin or end a December holiday concert.  Notes to the ConductorVictor Herbert’s music can be interpreted in a romantic style, which is the conductor’s responsibility to read in nuance and musicality. The beginning and other triple-tonguing sections of this piece have a March of the Toys quality to it.  The interludes and Auld Lang Syne sections are legato and musical. The March sections can also be shaped musically.About the ComposerVictor Herbert was born in Ireland in 1861 and raised in Germany. When he moved to America in 1886, he joined the Metropolitan Opera as principal cellist and eventually composed many works including forty-three operettas on Broadway from the 1890s to World War I, including Naughty Marietta and Babes in Toyland. Victor Herbert conducted the Pittsburgh Symphony from 1898 to 1904 and then was the conductor of his own Victor Herbert Orchestra. He formed ASCAP with a group of composers in 1914 and was the director until his death in 1924. Among his thirty-one compositions for orchestra, Festival March was a favorite of his and was eventually published by Carl Fischer Music.  .
SKU: AP.45363
UPC: 038081511030. English. English Carol.
A Christmas classic is given a cool treatment in this new arrangement by Andy Beck. Featuring a lilting jazz waltz accompaniment and sweet choral harmonies, this is a great way to perk up your holiday program! Optional parts for saxophone and vibes are available online.
About Alfred Choral Designs
The Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.
SKU: AP.45362
UPC: 038081511023. English. English Carol.
SKU: IS.WE6180EM
ISBN 9790365061808.
English composer Malcolm Arnold wrote this compact sonatina in 1951 and it has since become one of his most popular instrumental works. As always with Arnold, it is impeccably crafted: the first movement, with it's wide leaps, the occasional incursion of a six-eight bar into the prevailing four-four, and the lightest of jazzy touches, lives up to its marking of Allegro con brio; while the second demonstates Arnold's love at this period of a gentle cantabile style where no shadows yet lurk. The finale is a wild dance in three-four time marked Furioso, and it is a distant cousin of the Czech Furiant. With its vigorous rhythms and cascading semiquavers, it has something of the open-air quality of Dvorak at his most buccolic - not a frequent influence on Malcolm Arnold, but a highly appropriate one in this charming (and challenging) little work. This version for clarinet solo with wind band has been arranged by saxophone player Alex Steurs.
SKU: BR.MR-2286
ISBN 9783765103797. 8.5 x 11.5 inches. German / English.
The bibliography on Solo Concertos for Wind Instruments and Orchestra comprises three volumes. Nearly 17 000 works by about 6 000 composers are listed. The primary sources were the specific bibliographies on the particular instrument, then the listings of music in print, biographic-bibliographic dictionaries, catalogues of libraries and music information centres as well as the German Bielefelder Katalog Klassik, the British R.E.D. Catalogue and the US Schwann Opus. In addition, a number of works were communicated by musicians and collectors of manuscripts, printed and the recorded music itself. The information on the works contain along with the key of the composition, the title, the instrumentation and the duration, information on libraries and publishing houses as well as the sources of manuscripts with reference to RISM-Library Sigla. An additional CD-listing makes it easier to find the recording.The bibliography on Solo Concertos for Wind Instruments and Orchestra comprises three volumes. Nearly 17 000 works by about 6 000 composers are listed.
SKU: CA.1631000
ISBN 9790007242800. Language: all languages.
1989. Stay in Aix-en-Provence, France, doing a language course. Reading, discussing and analyzing Les Georgiques; this pursuit is going to be the foundation of the multiple intellectual and literary levels of my composing. 2. THE WOODEN PLATFORM IS COVERED WITH FINE WHITE SAND (OR SALT), THE TWO SHELVES WITH BLACK CLOTH ... At the time I work on my first serious piece, still a far cry from the under-standing of writing music I have today. << tellement froid que >> (georgiques I) for bass flute, electronics and scene (1995-96), sections 1-7. << comme si le froid >> (georgiques II) for baritone saxophone, timpani and piano (1998), sections 18-24. << n'etait le froid >> (georgiques III) for orchestra (2000-2002), sections not yet decided. 3. THE INTERPRETER WILL BE DRESSED IN BLACK AND WHITE, MAINLY WHITE IF BLUISH LIGHT IS AT HAND ... The enormously rich vocabulary and the accuracy of expression - in temporal, spatial and material terms - is particularly impressive. To comprehend all of it, a reading on three different levels is called for: a first reading of one passage, then the acquisition of unknown vocabulary; thirdly a repeated - knowing - reading, which points out the utopia of precise expression: The text is treated in a rather problematic (cold: le froid?) manner: it's not the semantic content that is primarily dominant, but rather the outward appearance, the mise en page and the syntactic structure. 4. THE INTERPRETER ENTERS THE STAGE WITH ALL THE FLUTES (S)HE WILL PLAY DURING THE CONCERT AND DEPOSITS THEM - EXCEPT FOR THE BASS FLUTE - ON SHELF B; IF (S)HE ONLY PLAYS THIS PIECE, (S)HE SHOULD PUT THE PROGRAMME OF THE CONCERT THERE; IN ANY CASE THE INSTRUCTIONS IN BAR 195 MUST BE FOLLOWED ... In concrete terms the 10 centimetres of a line in the minuit edition correspond to 10 seconds of musical structure (which is three times as slow as the average reading speed). Only seven years later is the term / expression casse ferique changed into casse ferrique, and thus its secret is revealed, which almost becomes - due to its unreadability - the key to the planned musical cycle. The text is measured from section to section (big format: each section is marked with a continuous, ,,cold chord by the bass flute, played on tape recorder), from full stop to full stop (new entry of keynote material), from comma to comma (tripling of continuous resonances) etc. 5. DURING THE PERFORMANCE UP TO BAR 195, THE INTERPRETER WILL TRY - IN A KIND OF THEATRICAL ADAPTATION - TO EXPRESS HIS/HER OWN FEELING OF IRREPRESSIBLY GROWING FRUSTRATION; FROM BAR 195 ONWARDS (S)HE WILL DEFINITELY HAVE PUT UP WITH THE BASS FLUTE ... Brackets in the text bring about a reduction of sound (the differentiating micro tones are no longer used), the syntactical progression to subordinate clauses of the remotest degree has its immediate effect on dynamics (degree of volume). Then: the perception of a logical and yet erratic syntax, vastly progressive layers of subordinate clauses and brackets (lowering tone of voice?), a polyphony of ,,memoire, which leads to a maelstrom of attention, a tonally centric / concentrated (main material?) and progressive (subordinate and brackets-material?) reading, listening and proceeding. The different levels are constantly in touch - transferring the sensuous moment of scenes of bodily encounter (Tryptique) that are evoked again and again - in perpetual excitement of text and imagination, memory and remembering sensitivity. 6. THE BODY MOVEMENTS AND FIXATION (FIGE) , BOTH CLEARLY PERCEPTIBLE, WILL EVOKE AND SUPPORT THE SAME EMOTIONS ... The basic moods of the text will be reflected in the relationship (which is very important here) of the interpreter to the music; (s)he is somehow at the mercy of given (and not always transparent) structures on the one hand and the complexity of musical sensations on the other, which has to be defeated inspite of exhaustion. It's not only here that semantic agreement (besides the materialistic structure) of music and text can be felt: On top of that there's the existential helplessness in view of the mercilessly flowing polyphony of levels and events -- as a mirror of this there are the remembered scenes of the Flemish cold in the second chapter (Les Georgiques). The interpreters are confronted with unusual directions which correspond to the adjectives in the respective passages of the text: anachronique, engourdi, glace et acre, monotone et desert etc. The possibilities of interpretation are amplified, the ability to perceive and personal reaction is opened. The impression of this inexorability is multiplied in the extremest way by the fact that the particular layers can be found in Simon's complete works. It's a continuous work of art in which each novel turns into a chapter of a complex, cyclic whole; its title denoting only one main strand, as it were. A personal comment is made also as regards the clearly defined stage; the mise en scene points out the extra-musical elements and the correlation between text, human being and music. 7. THE INTERPRETER IS ASKED TO MOVE FREELY WITHIN A DEFINED SPOT WITHOUT LOOKING ARTIFICIAL; SOUNDS CAUSED BY THE FEET MOVING ON THE SAND ARE WELCOME DURING THE WHOLE PIECE ... And here the idea of a cycle is born, an attempt to transfer these nuances of memorized structures, this clarity and coldness, to transform the text into musical material. Walter Feldmann.
SKU: BT.DHP-1012608-718
ISBN 9789043112604. English-German-French-Dutch.
SKU: BT.DHP-1012578-714
ISBN 9789043112567. English-German-French-Dutch.
SKU: BT.DHP-1012573-709
ISBN 9789043112512. English-German-French-Dutch.
SKU: BT.DHP-1012581-717
ISBN 9789043112598. English-German-French-Dutch.
