SKU: BT.DHP-1145615-140
Sting’s song about an Englishman who lives in New York but still sees himself as an outsider became a huge hit for the singer-songwriter and has gone on to be a true classic. The central message ‘Be yourself, no matter what they say’ is as timeless and universal as the melody of the song, which in Roland Kernen’s wind band arrangement is sure to delight your audience. De Britse singer-songwriter Sting scoorde met dit lied over een Engelsman die in New York steeds een vreemdeling is gebleven, een grote hit, die inmiddels een evergreen is geworden. De boodschap erachter ‘Blijf jezelf, wat ze ook zeggen’ is net zo tijdloos en universeel als de melodie, die in deze blaasorkestversie van Roland Kernen uitstekend tot haar recht komt. Dem britischen Sänger und Songwriter Sting gelang mit Lied über einen Engländer, der in New York stets ein Fremdling belieben wird, ein großer Hit, der mittlerweile zum Evergreen geworden ist. Die zentrale Botschaft: Bleib du selbst, egal, was sie sagen“ ist jedoch so zeitlos und universal wie auch die Melodie des Liedes, das in Roland Kernens Blasorchesterversion bei jedem Publikum gut ankommen wird. Le chanteur et compositeur britannique Sting évoque dans cette chanson, l’histoire d’un anglais excentrique qui arrive New York. Le message central : « Soyez vous-même, peu importe ce qu’ils disent » reste toujours actuel et universel, ainsi que la mélodie inoubliable de cette chanson. In questa canzone il cantante e compositore inglese Sting racconta la storia di un inglese eccentrico che arriva a New York. Il messaggio centrale « siate voi stessi, non importa ciò che gli altri dicono », resta attuale e universale, così come l’indimenticabile melodia di questa splendida canzone.
SKU: BT.DHP-1145615-010
SKU: HL.7014263
UPC: 196288204428.
Written and recorded by Sting in 1993, “Fields of Gold” is recognized as a masterful yet haunting ballad. This skillfully paced arrangement for young players features a light pop feel along with brief solos for alto sax and trumpet. The key change near the end provides a nice emotional lift.
SKU: BT.DHP-1165716-010
The Police was one of the most prominent bands during the 80’s, dominating the charts with numerous hits. The Norwegian Richard Johnsen has been around the block as an arranger in the pop and jazz band genre and is well known for making colourful orchestrations and arrangements that stay very close to the original song. Enjoy one of the biggest hits from The Police - Every Little Thing She Does Is Magic! The Police was een van de belangrijkste bands van de jaren tachtig; de groep domineerde de hitlijsten met talloze nummers. De Noorse arrangeur Richard Johnsen, die al een tijdje actief is in het pop- en jazzgenre, staat bekend om zijn kleurrijke instrumentaties en arrangementen die dicht bij de originele song blijven. Dat wordt genieten geblazen met een van de grootste hits van The Police: Every Little Thing She Does Is Magic! The Police war eine der erfolgreichsten Bands in den 1980er-Jahren, die die Charts mit zahlreichen Hits eroberte. Der Norweger Richard Johnson ist als Arrangeur im Bereich der Pop- und Jazzmusik bekannt für seine lebendigen Orchestrierungen und Arrangements, die sehr nah am Original bleiben. Genießen Sie einen der größten Hits von The Police: Every Little Thing She Does Is Magic! The Police est l’un des groupes les plus célèbres des années 1980, dominant au hit-parade avec ses nombreux tubes. Le norvégien Richard Johnsen, arrangeur qui se concentre sur les genres pop et jazz band, est connu pour ses orchestrations colorées et ses arrangements fidèles la chanson originale. Amusez-vous avec l’un des plus grands tubes de The Police Every Little Thing She Does Is Magic ! I Police sono stati una delle band più importanti degli anni ’80 e hanno dominato le classifiche con numerose hit. Richard Johnsen è un arrangiatore norvegese che ha all’attivo numerose collaborazioni nel panorama musicale pop e jazz ed è particolarmente apprezzato per le sue orchestrazioni ricche di colore e per gli arrangiamenti particolarmente fedeli all’originale. Godetevi quindi una delle più grandi hit dei Police: Every Little Thing She Does Is Magic!
SKU: KN.42311
UPC: 822795423112.
This hip pop chart features a catchy melody and contemporary harmonies. If you recognize a strong influence from the great music of Sting, you are on the right track. A great contrast to your more traditional charts. Includes an open solo section (written solos provided).
SKU: BT.DHP-1165716-140
SKU: KN.42311S
SKU: RM.STIN04978-PK
SKU: RM.STIN04978-BA
ISBN 9790231049787.
SKU: LO.30-3668MD
UPC: 000308152951.
Orchestral Score and Parts for 10/5296MD Bursting with energy from beginning to end, this arrangement of the familiar Easter hymn is the striking opening number from The Lamb (55/1192MD), a musical by Jay Rouse and Rose Aspinall. Jay added some modern flair and groove to this setting while keeping the melody intact. Ending with a grand and glorious conclusion, this anthem will make a long-lasting impact on worshipers.
SKU: HL.14041798
ISBN 9788759818077. 12.5x16.5x1.13 inches.
Set of parts for Per Nørgård's En Lys Time / A Light Hour (2008-09) for a variable Percussion Ensemble (min. 10 players).
In A Light Hour everything - rhythms and motifs – is based on Nørgård´s special infinity series.
Score: WH30964
Programme note
A Light Hour is for ‘any number of percussion musicians’ (but a minimum of ten). The duration is about 60 minutes. The instrumentation is in principle open, as long as percussion is used within the three types specified in the score: skin, metal and wood. Each musicianuses two sound sources with two different sounds, one of which is bright (or light) and the other dark. Certain passages also include tuned percussion instruments – vibraphone, xylophone, marimba, gamelan, glockenspiel, steel drums, crotales and the like. The work integrates and combines a number of rhythms that Nørgård has used in percussion works since the 1970s, for example in Early Spring Dance (for choir and percussion), and percussion works like I Ching, Easy Beats, Whirls, Zigzag, Nemo Dynamo and Echo Zone I-II-III. Special “tone-feasts” (the composer’s term) – followed by a rest – are an recognizable melodic feature of the work.: the first minute end with a short tone-feast (and a rest), the first four minutes end with a tone-feast lasting a minute (and a rest), the first quarter of an hour ends with a tone-feast of four minutes (and a rest) – and the work ends with a tone-feast lasting quarter of an hour (and a rest, when the work is over ...). The first 15 minutes have a bright, light character throughout, and alternate between rhythms and melodic play. The following 15 minutes are more insistent and decidedly percussion-based, Afro-Cuban, whereas the third quarter of A Light Hour moves in the.
SKU: BR.MR-2290B
Introduzione e Tema con Variazioni for clarinet and orchestra has long since carved a lasting niche in the clarinet repertoire. The composition is an impressive example of Italian bel canto writing with a refreshing alternation between the cla. Romantic period. Score and parts. 80 pages. Duration 15'. Breitkopf and Haertel #MR 2290b. Published by Breitkopf and Haertel (BR.MR-2290B).
ISBN 9790004489376. 9 x 12 inches.
The only printed source is a set of parts published by Breitkopf & Hartel in 1823. The variations are perfectly idiomatic for the instrument. Moreover, the edition will increase the performance opportunities: Additional to the original setting, the score and parts offer the possibility for a performance with string orchestra only.Introduzione e Tema con Variazioni for clarinet and orchestra has long since carved a lasting niche in the clarinet repertoire. The composition is an impressive example of Italian bel canto writing with a refreshing alternation between the clarinet's lyrical qualities and a virtuoso lightness and exuberance.
SKU: CF.CAS34
ISBN 9780825861055. UPC: 798408061050. 8.5 X 11 inches. Key: E minor.
Cliffhanger is a programmatic work for string orchestra that harkens back to the days of silent film. One of the lasting images of that time period is the Saturday afternoon matinee, where each episode ended on a cliffhanger until it could be continued next week. This piece tells the familiar story of the damsel in distress who is tied up to the train tracks as a train is approaching. Nicely done!.Cliffhanger is a programmatic work for string orchestra that harkens back to the days of silent film. One of the lasting images of that time period is the Saturday-afternoon matinee, where each episode ended on a cliffhanger until it could be continued next week. This piece tells the familiar story of the damsel in distress who is tied up to the train tracks as a train is approaching.The opening of the piece sets the scene with danger and desperation. By m. 6, our hero is making his way on horseback to rescue the fair maiden. This main melody is developed and passed around the ensemble until m. 36, at which point despair sets in. The music is rich with romantic harmonies and inner lines. Be sure to bring out these inner lines to add to the passion and drama of the moment. It continues to build until a thunderous arrival at m. 49. From there we return to our hero, who is now getting close to the train tracks to save the fair maiden. The tension becomes the highest at m. 61, when we are still not sure if our hero will make it in time. But alas, at m. 68 he swoops in to save the day and rescue the fair maiden. Of course, they live happily ever after.My hope is that your ensemble will have some fun with this style of music. It was adapted from an arrangement I wrote for the new pipe organ at the Walk Disney Concert Hall in Los Angeles. They wanted some scary train music to show children how the organ was used back before movies had sound. Strings provide a heightened sense of drama with this genre of music.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: PR.46500013L
UPC: 680160600151. 11 x 14 inches.
I n 1803, President Thomas Jefferson sent Meriwether Lewis and William Clarks Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies. I have been a student of the Lewis and Clark expedition, which Thomas Jefferson called the Voyage of Discovery, for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes. I have written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesnt try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jeffersons vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III . The music includes several quoted melodies, one of which is familiar to everyone as the ultimate river song, and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzattes fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), Vla bon vent, Soldiers Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune Beech Spring) and Fishers Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jeffersons Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.
SKU: CF.CAS34F
ISBN 9780825861062. UPC: 798408061067. 8.5 X 11 inches. Key: E minor.
Cliffhanger is a programmatic work for string orchestra that harkens back to the days of silent film. One of the lasting images of that time period is the Saturday afternoon matinee, where each episode ended on a cliffhanger until it could be continued next week. This piece tells the familiar story of the damsel in distress who is tied up to the train tracks as a train is approaching. Nicely done!.Cliffhanger is a programmatic work for string orchestra that harkens back to the days of silent film. One of the lasting images of that time period is the Saturday- afternoon matinee, where each episode ended on a cliffhanger until it could be continued next week. This piece tells the familiar story of the damsel in distress who is tied up to the train tracks as a train is approaching.The opening of the piece sets the scene with danger and desperation. By m. 6, our hero is making his way on horseback to rescue the fair maiden. This main melody is developed and passed around the ensemble until m. 36, at which point despair sets in. The music is rich with romantic harmonies and inner lines. Be sure to bring out these inner lines to add to the passion and drama of the moment. It continues to build until a thunderous arrival at m. 49. From there we return to our hero, who is now getting close to the train tracks to save the fair maiden. The tension becomes the highest at m. 61, when we are still not sure if our hero will make it in time. But alas, at m. 68 he swoops in to save the day and rescue the fair maiden. Of course, they live happily ever after.My hope is that your ensemble will have some fun with this style of music. It was adapted from an arrangement I wrote for the new pipe organ at the Walt Disney Concert Hall in Los Angeles. They wanted some scary train music to show children how the organ was used back before movies had sound. Strings provide a heightened sense of drama with this genre of music.
SKU: PR.465000130
ISBN 9781598064070. UPC: 680160600144. 9x12 inches.
Following a celebrated series of wind ensemble tone poems about national parks in the American West, Dan Welcher’s Upriver celebrates the Lewis & Clark Expedition from the Missouri River to Oregon’s Columbia Gorge, following the Louisiana Purchase of 1803. Welcher’s imaginative textures and inventiveness are freshly modern, evoking our American heritage, including references to Shenandoah and other folk songs known to have been sung on the expedition. For advanced players. Duration: 14’.In 1803, President Thomas Jefferson sent Meriwether Lewis and William Clark’s Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies.Ihave been a student of the Lewis and Clark expedition, which Thomas Jefferson called the “Voyage of Discovery,†for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri — and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs — hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing — and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes.Ihave written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesn’t try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jefferson’s vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III .The music includes several quoted melodies, one of which is familiar to everyone as the ultimate “river song,†and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzatte’s fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis’ journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), V’la bon vent, Soldier’s Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune “Beech Springâ€) and Fisher’s Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jefferson’s Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.
SKU: PR.44641256L
UPC: 680160596010. 11 x 17 inches. Key: A major.
Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall a each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall -- each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.Fanfare; Reminiscence and Celebration is in 2 movements.I. FanfareThe opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall — each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience.II. Reminiscence and CelebrationThe 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
SKU: PR.446412560
ISBN 9781598063738. UPC: 680160596003. 9x12 inches. Key: A major.