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| Simple Gifts: Four Shaker Songs Concert band [Score and Parts] - Intermediate Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor score and set of parts. Duration 9:00. Published by Manhattan Beach Music.
$250.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Simple Gifts: Four Shaker Songs Concert band [Score] - Intermediate Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Grade 3. Conductor Full Score. Duration 9:00
$50.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Rhythmic Warm-ups Concert band - Easy De Haske Publications
Concert Band/Harmonie/Fanfare Band - early intermediate SKU: BT.DHP-1084339-0...(+)
Concert Band/Harmonie/Fanfare Band - early intermediate SKU: BT.DHP-1084339-015 Composed by Peter Kleine Schaars. Flexible 5 Series. Educational Tool. Set (Score & Parts). Composed 2008. De Haske Publications #DHP 1084339-015. Published by De Haske Publications (BT.DHP-1084339-015). 9x12 inches. English-German-French-Dutch. Veel dirigenten hebben de uitstekende gewoonte elke repetitie te beginnen met een klankstudie. Het is echter net zo belangrijk om regelmatig de ritmische vaardigheden van de muzikanten te bevorderen. Hiervoor is Rhythmic Warp-upsideaal.Met Rhythmic Warm-ups hebt u voor elk orkest op elk niveau een groot aantal efficiënte oefeningen. U kunt de 10 moderne vijfstemmige harmonisaties (A t/m J) combineren met de 36 ritmische patronen - zo hebt u360 oefeningen tot uw beschikking. Uitbreiding is mogelijk door de verschillende stemmen (1-5) verschillende ritmische patronen te laten spelen. Sommige oefeningen worden bijna kleine songs op zich. Verder is het uiteraard mogelijkde harmonisaties te combineren met specifieke ritmische patronen (die u bijvoorbeeld selecteert uit het repertoire waar u aan werkt). Door het gebruik van patronen met straight eighths en in swing (rechte achtsten en swing-achtsten)kunt u het orkest trainen in alle ritmische facetten van de lichte muziek. Door de notatie van hetzelfde ritmische swingpatroon in zowel de 4/4- als 12/8-maatsoort bieden deze Rhythmic Warm-ups u de mogelijkheid om zelfshet meest klassiek georiënteerde orkest binnen enkele repetities enig swinggevoel bij te brengen en meer thuis te laten raken in Latijns-Amerikaanse ritmes. Met Rhythmic Warm-ups krijgt u uw orkest ritmisch in conditie!Ook leverbaar voor brassband
Viele Dirigenten haben es sich zur löblichen Routine gemacht, jede Probe mit einer Tonübung zu beginnen. Genauso wichtig ist auch die Förderung der rhythmischen Fähigkeiten der Musiker. Rhyhmic Warm-ups ist hier eine gute Ergänzung der wöchentlichen Überoutine.Rhyhmic Warm-ups bietet effziente Übungen für jedes Blasorchester, unabhängig vom Spielniveau. Kombiniert mit 36 rhythmischen Mustern, ergeben die zehn modernen fünfstimmigen Harmoniefolgen ein Repertoire von 360 Übungen, die teilweise wie kleine Lieder klingen. Auch andere Rhythmusmuster können Sie mit den Harmoniefolgen kombinieren, z. B. aus dem Repertoire, das Sie geradeeinstudieren.Mithilfe von Rhythmusmustern, die mit straight eights und in swing bezeichnet sind, werden alle rhythmischen Facetten populärer Musik abgedeckt. Durch die Notierung der gleichen Swing-Muster sowohl im 4/4- als auch im 12/8-Takt eröffnen die Rhyhmic Warm-ups die Möglichkeit, sogar einem absolut klassisch ausgerichteten Blasorchester innerhalb von ein paar Proben etwas Swing-Feel zu vermitteln. Auch lateinamerikanische Rhythmen können geübt werden.Mit Rhyhmic Warm-ups kriegen Sie ihr Blasorchester rhythmisch fit!
De nombreux chefs on ajouté une excellente routine leurs séances de répétition en effectuant un travail préliminaire sur le son. Certains utilisent un choral, d’autres choisissent une pièce solennelle du répertoire profane. Après avoir effectué ce travail préliminaire, la répétition suit son schéma habituel : l’étude des Å“uvres au programme.Si vous souhaitez développer la structuration rythmique de votre formation, chaque semaine, insérer une étude de rythme après la phase de travail du son.Rhythmic Warm-ups (“Échauffement rythmiqueâ€) contient une série d’exercices efficaces pour toutes les formations, quel que soit le niveau. En combinant les 10 pièces cinqvoix (A J) avec les 36 motifs rythmiques, vous disposez de 360 exercices de rythme. Pour élargir votre champ d’action, il vous suffit d’attribuer un motif rythmique différent chacune des cinq voix (1-5). Si la ligne de basse (voix 5) joue un rythme unique, les exercices se transforment en de petites pièces harmonieuses. Il est également possible de combiner les cinq voix avec des rythmes de votre choix (des rythmes extraits d’œuvres au programme, par exemple).En exploitant des motifs rythmiques en croches régulières et des motifs en croches irrégulières (swing), vos musiciens se familiariseront avec toutes les facettes rythmiques de la musique pop. Le fait de disposer d’un même motif rythmique en 4/4 et en 12/8 permet de développer le sens du swing (même chez les musiciens les plus classiques !), en quelques séances seulement. La percussion peut accompagner les motifs rythmiques 1 24 avec des rythmes pop ou latino-américains, condition de jouer ces rythmes en croches régulières. Les motifs rythmiques 25 36 doivent être soutenus par un « groove » swing. Plusieurs exemples de motifs pour la percussion ont été insérés.Il est conseillé de terminer chaque exercice avec un point d’orgue (une ronde).Je vous souhaite, vous et vos musiciens, une pleine réussite et beaucoup de satisfaction dans l’utilisation des Rhythmic $118.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| A Caribbean Sailing Trip Concert band - Intermediate De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 3.5 SKU: BT.DHP-1216331-215 Co...(+)
Concert Band/Harmonie/Fanfare Band - Grade 3.5 SKU: BT.DHP-1216331-215 Composed by Peter Kleine Schaars. Peter's Compact Collection. Original Light Music. Score Only. Composed 2021. 18 pages. De Haske Publications #DHP 1216331-215. Published by De Haske Publications (BT.DHP-1216331-215). English-German-French-Dutch. With this composition in a rumba style, Peter Kleine Schaars invites us to enjoy a relaxed sailing trip in the waters of the Caribbean. The feeling of freedom on the boat is mirrored by an extensive melody surrounded by a palette of colourful harmonies the shades of the water while the clever percussion sets the course of the ship. Who wouldn’t dream of such an adventure? Although the musical themes and accompaniments have been constructed from combinations of rhythmic cells that occur less often, the composition sounds very natural and flowing. Assuming the rhythmic cells 1 to 8 are part of the basic skills of your band, in this composition, the accent rather lies on cells 9 to 13. The instrumentation is created in such a way that these ‘new cells’ occur in all parts, so that all musicians of the band become familiar with this rhythmic development.
Met deze compositie in rumbastijl neemt Peter Kleine Schaars ons voor een relaxte zeiltocht mee naar de Caribische wateren. Het vrije gevoel op de boot wordt weerspiegeld door een uitgestrekte melodie te midden van een palet van kleurrijke harmonieën de schakeringen van het water terwijl de uitgekiende percussie de rechte koers van het schip bepaalt. Wie droomt er nou niet van zo’n avontuur? Hoewel de muzikale thema’s en begeleidingen zijn opgebouwd uit combinaties van enkele minder vaak voorkomende ritmische cellen, klinkt de compositie heel natuurlijk en vloeiend. Ervan uitgaande dat de ritmische cellen 1 tot en met 8 tot de basisvaardigheden van uw orkest behoren, ligt in deze compositie de nadruk vooral op de cellen 9 tot en met 13. De instrumentatie is dusdanig dat deze ‘nieuwe cellen’ voorkomen in alle partijen, zodat alle musici van het orkest vertrouwd raken met deze ritmische ontwikkeling.
Mit dieser Komposition im Rumba-Stil lädt uns Peter Kleine Schaars zu einem entspannten Segeltörn in der Karibik ein. Das Gefühl der Freiheit an Bord spiegelt sich in einer ausgedehnten Melodie wider, die von einer Reihe farbiger Harmonien den Bewegungen des Wassers umrahmt wird, während das Schlagzeug geschickt den Kurs des Schiffes hält. Wer träumt nicht von einem solchen Abenteuer? Obwohl die musikalischen Themen und die Begleitung aus einer Kombination verschiedener Rhythmus-Einheiten bestehen, die nur vereinzelt vorkommen, klingt die Komposition sehr natürlich und fließend. Da die Rhythmus-Einheiten 1 bis 8 sicher zu den Grundfertigkeiten Ihres Ensembles gehören, liegt der Schwerpunkt dieser Komposition eher auf den Rhythmus-Einheiten 9 bis 13. Die Instrumentierung ist so angelegt, dass diese neuen Rhythmus-Einheiten“ in allen Stimmenvorkommen, sodass alle Orchestermitglieder mit diesen Rhythmen vertraut gemacht werden.
Avec cette composition de style rumba, Peter Kleine Schaars nous invite un voyage décontracté en bateau sur les eaux des Cara bes. Le sentiment de liberté qu’offre le voilier est dépeint par une ample mélodie dans une palette d’harmonies colorées les teintes de l’eau , tandis que d’habilles percussions tiennent le cap. Qui ne rêverait pas d’une telle aventure ? Bien que les thèmes et accompagnements musicaux aient été élaborés partir de combinaisons de cellules rythmiques qui se rencontrent moins souvent, les sonorités de l’œuvre sont très naturelles et fluides. En présumant que les cellules rythmiques 1 8 fassent partie des compétences de base de votre orchestre, l’accent se trouve plutôt sur les cellules 9 13. L’instrumentation est arrangée de manière ce que ces « nouvelles cellules » se trouvent dans toutes les parties, afin que tous les membres de l’orchestre se familiarisent avec cette évolution rythmique. $17.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Ross Roy Concert band - Intermediate/advanced De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-0971085-010 Composed by Jacob...(+)
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-0971085-010 Composed by Jacob De Haan. Inspiration Series. Festive and Solemn Music. Set (Score & Parts). Composed 1997. De Haske Publications #DHP 0971085-010. Published by De Haske Publications (BT.DHP-0971085-010). Jacob de Haan was commissioned to compose this concert piece by the St. Peters Wind Symphony from Brisbane, Australia. Ross Roy is the monumental late 19th century villa where St. Peters Lutheran College was founded in 1945. The villa has always remained the school symbol. In this composition, Jacob de Haan sees the Ross Roy as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of Tempo di Marcia. Thismovement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of passing through the classes up to the final examinations.Then, the Ross Roy theme is dealt with again, now in a playful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the overture to the rest of one's life. The premiere of Ross Roy was conducted by Jacob de Haan in Brisbane, on August 22, 1997.
Ross Roy is de naam van de monumentale villa in Brisbane (Australië) waar in 1945 het St. Peters Lutheran College is gesticht. In opdracht van het collegeorkest componeerde Jacob de Haan dit gevarieerde concertwerk vol metaforen.De structuur en discipline van de school horen we in de met toonherhaling gepaard gaande ritmische beweging in basregister en slagwerk. Het volgende, martiale thema staat symbool voor het doorlopen van de klassen. Een schertsende,humoristische versie van het hoofdthema ontbreekt niet: op school moet immers ook tijd zijn voor vrolijkheid. Het karakteristieke slotthema mondt uit in een feestelijke apotheose.
Ross Roy ist der Name einer monumentalen Villa in Brisbane, Australien, in der 1945 das St. Peter Lutheran College gegründet wurde. Im Auftrag dieses Schulorchesters komponierte Jacob de Haan dieses Konzertwerk, das voll von Metaphern ist. Die Struktur und Disziplin dieser Schule hören wir in der mit Tonwiederholungen gepaarten rhythmischen Bewegung des Bassregisters und des Schlagwerks. Das folgende martialische Thema steht als Symbol für das Durchlaufen der Klassen bis zum Ende der Schulzeit. Eine scherzhafte, humoristische Version des Hauptthemas darf nicht fehlen, denn in der Schule muss auch Zeit für kleine Späße und Lachen sein! Das charakteristische Schlussthemamündet in einem festlichen Höhepunkt.
Ross Roy est le symbole grandiose de l’excellence du compositeur. L’œuvre tient son nom de l’imposante villa éponyme située Brisbane en Australie et qui abrite en ses murs le Collège Saint Pierre, une institution luthérienne fondée en 1945. C’est pour l’Orchestre d’Harmonie de cet établissement que Jacob de Haan composa cette œuvre riche en métaphores. « J’ai tenté de décrire les valeurs de cette école. Ainsi, le thème initial se développe-t-il sur un motif rythmique imposant qui alterne entre les instruments graves et la batterie. Ce motif symbolise l’autorité et le cadre structuré de l’école. On retrouve ce thème plusieurs reprises et notamment sousune forme humoristique et espiègle : nous découvrons les bons côtés de l’école, la joie des élèves, les sentiments de fierté, d’amour et d’amitié. Autre élément thématique, une marche qui symbolise la progression des élèves dans leur cursus pour arriver leurs examens de fin d'étude. » En guise de conclusion, Jacob de Haan nous offre un thème grandiose qui s’élargit en apothéose.
Commissionato dalla St. Peter’s Wind Symphony Orchestra di Brisbane, è dedicato alla monumentale villa tardo-ottocentesca dove il collegio dell’orchestra ha avuto la sua storica sede. Metafora degli anni della formazione, è caratterizzato da un finale in stile ouverture, come se gli anni della scuola rappresentassero una sorta di ouverture al resto della vita. $191.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Cuico Concert band [Score and Parts] - Intermediate/advanced C. Alan Publications
(Percussion Trio Feature). Composed by Gregory Danner. For Soloist(s) with Conce...(+)
(Percussion Trio Feature). Composed by Gregory Danner. For Soloist(s) with Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, F Horn 1/2, F Horn 3/). Band Music. Grade 4. Score and parts. Duration 14:50. Published by C. Alan Publications
$150.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| A Shaker Gift Song Concert band [Score and Parts] - Easy Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for middle school and high school bands...(+)
By Frank Ticheli. Concert band. Suitable for middle school and high school bands. Grade 2. Conductor score and set of parts. Duration 2:15. Published by Manhattan Beach Music
$125.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Sbandiamo! Concert band - Intermediate De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1175843-010 Composed by Jacob...(+)
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1175843-010 Composed by Jacob De Haan. Concert and Contest Collection CBHA. Concert Piece. Set (Score & Parts). Composed 2018. De Haske Publications #DHP 1175843-010. Published by De Haske Publications (BT.DHP-1175843-010). English-German-French-Dutch. Sbandiamo! is a joyous—and swinging—work, taking its title from the wind music event held annually in the medieval Italian city of Gubbio, Umbria in which various bands from all over Italy participate. The first performance of this piece was given at the Piazza Grande, Gubbio, under the baton of the composer himself, with a wind band of some 250 musicians. A stately introduction, with festive percussion, is followed by a catchy theme in alternating pop and march rhythms. The opening theme then returns as a marcia cantabile, and the work is brought to a grand and compelling conclusion.
Sbandiamo! is zowel een vreugdevol als swingend werk. De titel verwijst naar het gelijknamige blaasmuziekevenement in de middeleeuwse stad Gubbio in Umbrië (Italië). Daar klonk op de Piazza Grande de première met een blaasorkest bestaande uit ongeveer 250 musici, onder leiding van de componist. Elk jaar nemen diverse orkesten uit heel Italië deel aan dit evenement. Een statige inleiding met feestelijk slagwerk wordt gevolgd door een pakkend thema in afwisselende pop- en marsritmes. Dan keert het beginthema terug als marcia cantabile en eindigt het werk meeslepend en groots.
Sbandiamo! ist ein fröhliches und schwungvolles Werk. Der Titel bezieht sich auf die gleichnamige Blasmusik-Veranstaltung in der mittelalterlichen Stadt Gubbio in Umbrien (Italien). Dort fand auch die Uraufführung des Stückes mit einem etwa 250-köpfigen Blasorchester unter der Leitung des Komponisten auf der Piazza Grande statt. Jedes Jahr nehmen an dieser Veranstaltung verschiedene Blasorchester aus ganz Italien teil. Auf die majestätische Einleitung mit festlichem Schlagwerk folgt ein eingängiges Thema mit wechselnden Posp- und Marschrhythmen. Sbandiamo! Eine Komposition, die sowohl den Musikern als auch ihrem Publikum gefallen wird.
Sbandiamo ! est une œuvre joyeuse qui fait swinguer ! Son titre fait référence la rencontre d’orchestres d’harmonie qui regroupe chaque année des orchestres de toute l’Italie dans la ville médiévale de Gubbio en Ombrie (Italie). L , sur la Piazza Grande, l’œuvre a été créée sous la direction du compositeur avec une ensemble d’environ 250 musiciens. Une introduction grandiose avec de la percussion festive est suivie d’un thème entraînant, alternant entre des rythmes de pop et de marche. Puis, on retrouve le thème d’ouverture dans la forme d’une marcia cantabile, et l’œuvre est menée sa fin grandiose et captivante.
Sbandiamo! è un brano gioioso e swing il cui titolo è tratto dalla rassegna dedicata ai fiati che si tiene nella cittadina medioevale di Gubbio una volta all’anno, e che vede chiamate a raccolta varie bande provenienti da ogni parte d’Italia. La prima esecuzione del brano è avvenuta nella Piazza Grande di Gubbio, sotto la guida dello stesso compositore con una banda di 250 strumentisti a fiato. Una maestosa introduzione con festose percussioni è seguita da un tema accattivante che alterna ritmi pop e di marcia. Il tema iniziale ritorna poi come una marcia cantabile e il brano si avvia ad una grande ed irresistibile conclusione. $143.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sbandiamo! Concert band - Intermediate De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1175843-140 Composed by Jacob...(+)
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1175843-140 Composed by Jacob De Haan. Concert and Contest Collection CBHA. Concert Piece. Score Only. Composed 2018. 23 pages. De Haske Publications #DHP 1175843-140. Published by De Haske Publications (BT.DHP-1175843-140). English-German-French-Dutch. Sbandiamo! is a joyous—and swinging—work, taking its title from the wind music event held annually in the medieval Italian city of Gubbio, Umbria in which various bands from all over Italy participate. The first performance of this piece was given at the Piazza Grande, Gubbio, under the baton of the composer himself, with a wind band of some 250 musicians. A stately introduction, with festive percussion, is followed by a catchy theme in alternating pop and march rhythms. The opening theme then returns as a marcia cantabile, and the work is brought to a grand and compelling conclusion.
Sbandiamo! is zowel een vreugdevol als swingend werk. De titel verwijst naar het gelijknamige blaasmuziekevenement in de middeleeuwse stad Gubbio in Umbrië (Italië). Daar klonk op de Piazza Grande de première met een blaasorkest bestaande uit ongeveer 250 musici, onder leiding van de componist. Elk jaar nemen diverse orkesten uit heel Italië deel aan dit evenement. Een statige inleiding met feestelijk slagwerk wordt gevolgd door een pakkend thema in afwisselende pop- en marsritmes. Dan keert het beginthema terug als marcia cantabile en eindigt het werk meeslepend en groots.
Sbandiamo! ist ein fröhliches und schwungvolles Werk. Der Titel bezieht sich auf die gleichnamige Blasmusik-Veranstaltung in der mittelalterlichen Stadt Gubbio in Umbrien (Italien). Dort fand auch die Uraufführung des Stückes mit einem etwa 250-köpfigen Blasorchester unter der Leitung des Komponisten auf der Piazza Grande statt. Jedes Jahr nehmen an dieser Veranstaltung verschiedene Blasorchester aus ganz Italien teil. Auf die majestätische Einleitung mit festlichem Schlagwerk folgt ein eingängiges Thema mit wechselnden Posp- und Marschrhythmen. Sbandiamo! Eine Komposition, die sowohl den Musikern als auch ihrem Publikum gefallen wird.
Sbandiamo ! est une œuvre joyeuse qui fait swinguer ! Son titre fait référence la rencontre d’orchestres d’harmonie qui regroupe chaque année des orchestres de toute l’Italie dans la ville médiévale de Gubbio en Ombrie (Italie). L , sur la Piazza Grande, l’œuvre a été créée sous la direction du compositeur avec une ensemble d’environ 250 musiciens. Une introduction grandiose avec de la percussion festive est suivie d’un thème entraînant, alternant entre des rythmes de pop et de marche. Puis, on retrouve le thème d’ouverture dans la forme d’une marcia cantabile, et l’œuvre est menée sa fin grandiose et captivante.
Sbandiamo! è un brano gioioso e swing il cui titolo è tratto dalla rassegna dedicata ai fiati che si tiene nella cittadina medioevale di Gubbio una volta all’anno, e che vede chiamate a raccolta varie bande provenienti da ogni parte d’Italia. La prima esecuzione del brano è avvenuta nella Piazza Grande di Gubbio, sotto la guida dello stesso compositore con una banda di 250 strumentisti a fiato. Una maestosa introduzione con festose percussioni è seguita da un tema accattivante che alterna ritmi pop e di marcia. Il tema iniziale ritorna poi come una marcia cantabile e il brano si avvia ad una grande ed irresistibile conclusione. $30.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Live On Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 2.5 SKU: CF.YPS212 Composed by Larry Clark. Young Band (YPS). Set of Score and Parts. With Standard notation. 16+4+8+8+4+4+10+4+4+8+8+8+12+6+6+2+2+4+10+20+4 pages. Duration 3 minutes, 39 seconds. Carl Fischer Music #YPS212. Published by Carl Fischer Music (CF.YPS212). ISBN 9781491152317. UPC: 680160909810. Key: C minor. Taking its title from a poem about grief and loss by Chrissie Pinney, Live On honors the life of band director Linda Mann, to whom the piece is dedicated. The piece begins with a pensive intro before shifting to a whimsical theme that brings about happy thoughts of a life well-lived. After a return to the poignant opening material, the music surges to a triumphant conclusion based on an augmented version of the whimsical theme. Live On was commissioned by Diplomat Middle School's staff, faculty and students, in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017. Linda Mann’s impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association.In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should “depict Linda’s personality: dynamic, sassy, yet thoughtful and almost mentor-like.†They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher.After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey. That poem is entitled Live On by Chrissie Pinney.Live OnNow as I live onWithout youI hope to keepThe pieces of youThat I loved so dearlyYour mannerismsAnd compassionate characterAnd smiles through struggleSo that youMay live on too -Chrissie PinneyI reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes. She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann.The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece.After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time. The piece develops into a secondary theme that is a quasi inversion of the main fast theme. This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work.It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On.–Larry ClarkLakeland, FL 2017. $75.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Live On Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 2 SKU: CF.YPS212F Composed by Larry Clark. Young Band (YPS). Full score. With Standard notation. 20 pages. Carl Fischer Music #YPS212F. Published by Carl Fischer Music (CF.YPS212F). ISBN 9781491152997. UPC: 680160910496. Taking its title from a poem about grief and loss by Chrissie Pinney, Live On honors the life of band director Linda Mann, to whom the piece is dedicated. The piece begins with a pensive intro before shifting to a whimsical theme that brings about happy thoughts of a life well-lived. After a return to the poignant opening material, the music surges to a triumphant conclusion based on an augmented version of the whimsical theme. Live On was commissioned by Diplomat Middle School's staff, faculty and students, in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017. Linda Mann’s impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association.In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should “depict Linda’s personality: dynamic, sassy, yet thoughtful and almost mentor-like.†They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher.After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey. That poem is entitled Live On by Chrissie Pinney.Live OnNow as I live onWithout youI hope to keepThe pieces of youThat I loved so dearlyYour mannerismsAnd compassionate characterAnd smiles through struggleSo that youMay live on too -Chrissie PinneyI reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes. She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann.The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece.After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time. The piece develops into a secondary theme that is a quasi inversion of the main fast theme. This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work.It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On.–Larry ClarkLakeland, FL 2017. $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Royal Coronation Dances Concert band - Intermediate Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8). ISBN 9781599130545. Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion. $95.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Journey of the Spanish Buccaneers Concert band - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Castanets, Chimes, Clarinet 1, Clarinet ...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Castanets, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Claves, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2 and more. - Grade 3 SKU: CF.CPS222 Composed by Ed Kiefer. Concert Band (CPS). Set of Score and Parts. With Standard notation. 8+8+4+8+16+16+4+4+4+4+4+4+8+8+8+4+4+6+6+6+8+2+2+1+12+2+1+36+4 pages. Duration 5 minutes, 19 seconds. Carl Fischer Music #CPS222. Published by Carl Fischer Music (CF.CPS222). ISBN 9781491152485. UPC: 680160909988. From the call of the open seas to the wistful dance section, this piece will open the imagination of your students and audiences.  Very playable by young bands, the piece features a short opening ostinato that develops into a tone cluster and leads to the ominous sounds of the brass and percussion, which depict the slow lumbering ship on the dangerous, open waters. The piece continues through a more lyrical second section before a dramatic return of the opening material to close out this contest/festival style piece. From the call of the open seas to the wistful dance section, this piece will open the imagination of your students and audiences. Very playable by young bands, the piece features a short opening ostinato that develops into a tone cluster. This leads to the ominous sounds of the brass and percussion, which depict the slow lumbering ship on the dangerous, open waters. After a quickly paced melody in the low register for the clarinets, the piece gives way to an exciting tutti section that features horns and saxes on an answering countermelody.The second section is a dance that starts with low reeds and a flute solo, but develops into a full band Spanish-sounding dance, with melody in many different places. The recap is a reverse of the beginning section and again loosely represents the danger of life on the high seas.The short ostinato that is used at the beginning and in some transitional moments is based on the beginning notes of Irish Tune from County Derry, a favorite of J. C. Sykes, who this piece honors. Mr. Sykes gave a lifetime to teaching music to band students in North Carolina. The first four notes in clarinet 1, the first four in flute 1 and the first four in clarinet 2 make up the first phrase from that beautiful melody. Just something to get students thinking about composition in a new way. $95.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sleep, My Child Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba, alto Saxophone and more. - Grade 2 SKU: CF.YPS208 Shlof, Mayn Kind. Composed by Larry Clark. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+2+5+2+2+4+4+4+6+3+2+3+1+1+2+6+12 pages. Duration 4 minutes, 31 seconds. Carl Fischer Music #YPS208. Published by Carl Fischer Music (CF.YPS208). ISBN 9781491152287. UPC: 680160909780. Key: D minor. A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece. Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song. After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension. This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL 2017. $70.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Cajun Folk Songs Concert band [Score and Parts] - Intermediate Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor score and set of parts. Duration 6:40. Published by Manhattan Beach Music.
$195.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Sleep, My Child Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tam-tam, Timpani and more. - Grade 2 SKU: CF.YPS208F Shlof, Mayn Kind. Composed by Larry Clark. Young Band (YPS). Full score. With Standard notation. 12 pages. Carl Fischer Music #YPS208F. Published by Carl Fischer Music (CF.YPS208F). ISBN 9781491152966. UPC: 680160910465. A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece. Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song. After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension. This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL 2017. $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Journey of the Spanish Buccaneers Concert band - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Castanets, Chimes, Clarinet 1, Clarinet ...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Castanets, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Claves, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2 and more. - Grade 3 SKU: CF.CPS222F Composed by Ed Kiefer. Concert Band (CPS). Full score. With Standard notation. 36 pages. Carl Fischer Music #CPS222F. Published by Carl Fischer Music (CF.CPS222F). ISBN 9781491153161. UPC: 680160910663. From the call of the open seas to the wistful dance section, this piece will open the imagination of your students and audiences.  Very playable by young bands, the piece features a short opening ostinato that develops into a tone cluster and leads to the ominous sounds of the brass and percussion, which depict the slow lumbering ship on the dangerous, open waters. The piece continues through a more lyrical second section before a dramatic return of the opening material to close out this contest/festival style piece. From the call of the open seas to the wistful dance section, this piece will open the imagination of your students and audiences. Very playable by young bands, the piece features a short opening ostinato that develops into a tone cluster. This leads to the ominous sounds of the brass and percussion, which depict the slow lumbering ship on the dangerous, open waters. After a quickly paced melody in the low register for the clarinets, the piece gives way to an exciting tutti section that features horns and saxes on an answering countermelody.The second section is a dance that starts with low reeds and a flute solo, but develops into a full band Spanish-sounding dance, with melody in many different places. The recap is a reverse of the beginning section and again loosely represents the danger of life on the high seas.The short ostinato that is used at the beginning and in some transitional moments is based on the beginning notes of Irish Tune from County Derry, a favorite of J. C. Sykes, who this piece honors. Mr. Sykes gave a lifetime to teaching music to band students in North Carolina. The first four notes in clarinet 1, the first four in flute 1 and the first four in clarinet 2 make up the first phrase from that beautiful melody. Just something to get students thinking about composition in a new way. $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Cajun Folk Songs Concert band [Score] - Intermediate Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor Full Score. Duration 6:40. Published by Manhattan Beach Music.
$30.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Nordanvind Concert band - Intermediate/advanced 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,†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 . $125.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Solar Flare Concert band - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2 and more. - Grade 3.5 SKU: CF.CPS219 Composed by Tyler Arcari. Concert Band (CPS). Set of Score and Parts. With Standard notation. 16+4+8+16+4+4+8+4+4+8+8+8+4+4+4+4+6+6+2+6+8+2+3+2+4+10+28+4 pages. Duration 4 minutes, 6 seconds. Carl Fischer Music #CPS219. Published by Carl Fischer Music (CF.CPS219). ISBN 9781491152454. UPC: 680160909957. Solar Flare, by Tyler Arcari, depicts the huge explosion on the Sun that appears as a sudden bright flash. The piece incorporates a whirlwind of mixed meters to?depict this phenomenon. Arcari showcases his fresh, exciting, and well-scored compositional style in this piece. Solar Flare makes for? an excellent concert opener. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 6972 should be treated as a transitional fanfare to the new material at m. 73. Measures 99115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work.About the Work:Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a “teaching 7/8†space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69–72 should be treated as a transitional fanfare to the new material at m. 73.Measures 99–115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the “^†accent on the final note is one meant to be played heavy, and not short. $95.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Moyses Concert band [Score and Parts] - Intermediate/advanced Scomegna Edizioni Musicali
(Biblical Poem). By Federico Agnello. For concert band. Grade 4.5. Score and...(+)
(Biblical Poem). By Federico
Agnello. For concert band.
Grade 4.5. Score and full set
of parts. Duration 16 minutes.
Published by Scomegna Edizioni
Musical srl
$316.69 $300.8555 (5% off) See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Cirque de L’étrange Concert band - Easy Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS200 Composed by Matthew R. Putnam....(+)
Band Concert Band - Grade 2 SKU: CF.YPS200 Composed by Matthew R. Putnam. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+2+2+5+2+2+4+4+6+3+3+2+1+3+16+4+4+2+2 pages. Duration 2:15. Carl Fischer Music #YPS200. Published by Carl Fischer Music (CF.YPS200). ISBN 9781491152201. UPC: 680160909704. Key: D minor. Step right up, ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange, or “Circus of the Strange.†This piece evokes a bygone era when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities. Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups and is a great way to expose students to the march form and style without sounding like your typical march. Step right up ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange. Welcome to the Cirque de L’étrange, known in English as the “Circus of the Strange.†This piece evokes a time of a bygone era, a time when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities that were sources of both delight and horror. While many of these sideshow attractions were deemed fraudulent, it did not deter the crowds from flocking to be shocked and awed. I have always held a special place in my heart for the showmanship of carnivals, because my grandfather dearly loved them. For much of his life, he worked at fairs and carnivals selling cotton candy and candy apples. A large portion of my days when growing up were spent running around fairgrounds and helping my grandfather with his stand. He imparted in me a love for the cunning, magic, and sheer joy that only carnivals and circuses can bring. In Cirque de L’étrange, I sought to capture the the mirthful, yet uncanny mood of the carnivals that I grew up exploring, thus transporting you to a different time.Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups, as it is a great way to expose students to the march form and style while not sounding like your typical march.Opening in D minor, the piece combines the playful feel of a march and a macabre tango. The second time through the First Strain (mm. 5-23), the upper woodwinds and bells add a second counter melody based in D harmonic minor, which heightens the peculiar nature of the piece. The Second Strain (mm. 24-43) by contrast, is a little more upbeat, thus evoking the magical ebullience of a circus, which is further highlighted by the xylophone part. The Second Strain ends in the key of F major and sets up the transition to the Trio in the key of G minor. The Trio (m. 44) begins with the G harmonic minor melody in the clarinets and a counter melody in the bassoon and tenor saxophone. The rest of the woodwinds and bells join in at m. 60 while the percussion adds a Gypsy-like feel with tambourine and triangle. At m. 76 the full band joins in the macabre parade with the trombones and baritones harmonizing the counter melody. The conclusion of the march has the upper woodwinds, adding a second counter melody complete with trills to bring the march to an exciting and dramatic finish.As the World’s Greatest Showman, P.T. Barnum, a man my grandfather greatly admired, once said “The noblest art is that of making others happy.†It is my hope that through this piece you will experience the thrill, delight, and fright that only carnivals can bring as you visit the Circus of the Strange! $70.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| When Hearts Tremble Concert band - Intermediate/advanced Carl Fischer
Band concert band - Grade 4.5 SKU: CF.SPS75 Composed by Brant Karrick. SW...(+)
Band concert band - Grade 4.5 SKU: CF.SPS75 Composed by Brant Karrick. SWS FS. Carl Fischer Symphonic Performance Series. Set of Score and Parts. With Standard notation. 3+12+12+6+12+12+12+6+6+6+6+6+6+9+9+9+6+6+9+9+9+9+6+12+6+9+3+9+9+40 pages. Duration 6 minutes, 44 seconds. Carl Fischer Music #SPS75. Published by Carl Fischer Music (CF.SPS75). ISBN 9781491147702. UPC: 680160905201. 9 x 12 inches. Key: F major. When Hearts Tremble is an emotion packed piece dedicated to musician friends lost all to soon. This beautiful composition by Brant Karrick reflects on the fragility of human existence, joyous memories of loved ones and their effect on everyone around them, and maintaining hope for what the future will hold when all feels lost. This tour de force piece perfectly displays Karrick's polished compositional craft with impeccable scoring, beautiful melodic writing, and exceptional orchestrational color. While the day-to-day grind of our lives can be filled with overwhelming obligations, goals and commitments, it is sometimes very easy to forget just how precious and fragile life is . It is so easy to get caught up in our own personal feelings and worries that we sometimes don’t realize and appreciate the many blessings we have, especially friendships . On Wednesday, November 18, 2015 the Jefferson High School Band in Jefferson, Georgia lost two of its members to a fatal car accident . The victims were brothers . Music was a constant part of their lives, and the boys were talented percussionists in the marching band . To help with the grieving process the school and community commissioned this piece to celebrate the lives of William and Alex Trimble .As a father, I cannot imagine losing a child, let alone two, and beginning this piece was very difficult as I felt extreme anguish, especially for the parents . But it was decided the piece should primarily reflect the enthusiasm, youthful spirits and positive influence these two young men demonstrated as they were deeply loved by their band mates, community and family . There are four main themes, each representing the feelings and emotions that are certain to occur after a loss of loved ones . The first theme is a short, introductory fanfare, strong and bold, to stand for courage . A second dance-like melody features a liltingly mixed meter to portray a youthful and carefree innocence . This soon changes into a third more song-like, and stately theme intended to provide encouragement as we move forward through life .The middle of the piece includes a soft transition as two snare drummers give voice to the boys, allowing them to thank their friends and assuring them that it will be okay . This moves directly into a slow melody introduced by the saxophones (Alex, the younger brother was also a saxophonist) and is a time for reflection and allows for feelings of sadness at losing beloved friends . However, a second statement of the same theme, now at full volume with a strong percussion cadence, intends to lift the spirits and allows all friends to unite in joyous celebration of life . Both the enthusiastic dance theme and stately lyrical theme return, now in different keys, and work their way toward the highly energetic burst of glorious sound in the short and wild coda . When Hearts Tremble was written to celebrate the joys of youth and life, and should remind us that our friends and loved ones are precious, and we should live each day to bring more joy into the world and into the lives of others . $140.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sahara Concert band - Easy De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1165744-010 Composed by Thi...(+)
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1165744-010 Composed by Thierry Deleruyelle. Concert and Contest Collection CBHA. Concert Piece. Set (Score & Parts). Composed 2016. De Haske Publications #DHP 1165744-010. Published by De Haske Publications (BT.DHP-1165744-010). English-German-French-Dutch. Sahara takes you on a journey to the largest desert in the world. Located in the north of the African continent, it covers eight million square kilometres and spreads across ten nations. The work describes the various landscapes that the Sahara has to offer, using different instrumental groups to underline different characteristics. Both an intense rhythmic passage with lots of percussion, as well as a chorale part with beautiful brass segments, make this a wonderful yet challenging piece. It also allows you to work on different technical aspects with your band and is suitable for a concert or a contest.
Sahara neemt je mee op reis naar de grootste woestijn ter wereld, gelegen in het noorden van het Afrikaanse continent over een oppervlakte van acht miljoen vierkante kilometer verspreid over tien landen. Het werk beschrijft de verschillende woestijnlandschappen van de Sahara, waarbij verschillende instrumentgroepen hun kenmerken onderstrepen. Van een intense, ritmische passage met veel slagwerk tot een koraalgedeelte met boeiende koperpartijen is dit een prachtig stuk vol uitdagingen. Het is een fraai orkest- of wedstrijdwerk, maar het is ook geschikt om met uw orkest aan diverse technische aspecten te werken.
Das Stück Sahara nimmt Sie mit auf eine Reise in die weltweit größte Trockenwüste, die sich im Norden des afrikanischen Kontinents befindet. Sie umfasst 8 Millionen Quadratkilometer und erstreckt sich über zehn Staaten. Das Werk beschreibt die unterschiedlichen Landschaften der Sahara, die von verschiedenen Instrumentengruppen gespielt werden, um die jeweiligen Besonderheiten darzustellen. Sowohl eine sehr rhythmische Passage mit viel Schlagwerk als auch ein choralartiger Teil mit wunderschönen Blechbläserpassagen machen das Werk zu einem wunderbaren und anspruchsvollen Stück. Mit Hilfe dieses Werkes können Sie mit Ihrem Blasorchester auch verschiedene technische Aspekteüben; es eignet sich aber auch hervorragend als Konzert- oder Wettbewerbsstück.
Sahara vous fait embarquer sur un voyage au sein du plus grand désert chaud du monde. Situé au nord du continent africain, il couvre huit millions de kilomètres carrés et s’étend sur dix états. L’œuvre dépeint les paysages variés du Sahara et le compositeur utilise une variation de registres pour souligner ces différentes caractéristiques. Des passages rythmiques intenses avec beaucoup de percussion ainsi qu’un choral avec des sections magnifiques pour cuivres rendent cette œuvre formidable bien qu’ambitieuse. Elle vous permet de travailler sur plusieurs aspects techniques avec votre orchestre et convient aux concerts ou aux concours. $91.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Solar Flare Concert band - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2 and more. - Grade 3.5 SKU: CF.CPS219F Composed by Tyler Arcari. Concert Band (CPS). Full score. With Standard notation. 28 pages. Carl Fischer Music #CPS219F. Published by Carl Fischer Music (CF.CPS219F). ISBN 9781491153130. UPC: 680160910632. Solar Flare, by Tyler Arcari, depicts the huge explosion on the Sun that appears as a sudden bright flash. The piece incorporates a whirlwind of mixed meters to?depict this phenomenon. Arcari showcases his fresh, exciting, and well-scored compositional style in this piece. Solar Flare makes for? an excellent concert opener. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 6972 should be treated as a transitional fanfare to the new material at m. 73. Measures 99115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work.About the Work:Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a “teaching 7/8†space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69–72 should be treated as a transitional fanfare to the new material at m. 73.Measures 99–115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the “^†accent on the final note is one meant to be played heavy, and not short. $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Cirque de L’étrange Concert band - Easy Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS200F Composed by Matthew R. Putnam...(+)
Band Concert Band - Grade 2 SKU: CF.YPS200F Composed by Matthew R. Putnam. Young Band (YPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #YPS200F. Published by Carl Fischer Music (CF.YPS200F). ISBN 9781491152881. UPC: 680160910380. Step right up, ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange, or “Circus of the Strange.†This piece evokes a bygone era when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities. Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups and is a great way to expose students to the march form and style without sounding like your typical march. Step right up ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange. Welcome to the Cirque de L’étrange, known in English as the “Circus of the Strange.†This piece evokes a time of a bygone era, a time when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities that were sources of both delight and horror. While many of these sideshow attractions were deemed fraudulent, it did not deter the crowds from flocking to be shocked and awed. I have always held a special place in my heart for the showmanship of carnivals, because my grandfather dearly loved them. For much of his life, he worked at fairs and carnivals selling cotton candy and candy apples. A large portion of my days when growing up were spent running around fairgrounds and helping my grandfather with his stand. He imparted in me a love for the cunning, magic, and sheer joy that only carnivals and circuses can bring. In Cirque de L’étrange, I sought to capture the the mirthful, yet uncanny mood of the carnivals that I grew up exploring, thus transporting you to a different time.Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups, as it is a great way to expose students to the march form and style while not sounding like your typical march.Opening in D minor, the piece combines the playful feel of a march and a macabre tango. The second time through the First Strain (mm. 5-23), the upper woodwinds and bells add a second counter melody based in D harmonic minor, which heightens the peculiar nature of the piece. The Second Strain (mm. 24-43) by contrast, is a little more upbeat, thus evoking the magical ebullience of a circus, which is further highlighted by the xylophone part. The Second Strain ends in the key of F major and sets up the transition to the Trio in the key of G minor. The Trio (m. 44) begins with the G harmonic minor melody in the clarinets and a counter melody in the bassoon and tenor saxophone. The rest of the woodwinds and bells join in at m. 60 while the percussion adds a Gypsy-like feel with tambourine and triangle. At m. 76 the full band joins in the macabre parade with the trombones and baritones harmonizing the counter melody. The conclusion of the march has the upper woodwinds, adding a second counter melody complete with trills to bring the march to an exciting and dramatic finish.As the World’s Greatest Showman, P.T. Barnum, a man my grandfather greatly admired, once said “The noblest art is that of making others happy.†It is my hope that through this piece you will experience the thrill, delight, and fright that only carnivals can bring as you visit the Circus of the Strange! $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ross Roy Marching band - Intermediate/advanced De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-0971085-020 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 4 SKU: BT.DHP-0971085-020 Composed by Jacob De Haan. Inspiration Series. Festive and Solemn Music. Set (Score & Parts). Composed 1997. De Haske Publications #DHP 0971085-020. Published by De Haske Publications (BT.DHP-0971085-020). Jacob de Haan was commissioned to compose this concert piece by the St. Peters Wind Symphony from Brisbane, Australia. Ross Roy is the monumental late 19th century villa where St. Peters Lutheran College was founded in 1945. The villa has always remained the school symbol. In this composition, Jacob de Haan sees the Ross Roy as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of Tempo di Marcia. Thismovement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of passing through the classes up to the final examinations.Then, the Ross Roy theme is dealt with again, now in a playful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the overture to the rest of one's life. The premiere of Ross Roy was conducted by Jacob de Haan in Brisbane, on August 22, 1997.
Ross Roy is de naam van de monumentale villa in Brisbane (Australië) waar in 1945 het St. Peters Lutheran College is gesticht. In opdracht van het collegeorkest componeerde Jacob de Haan dit gevarieerde concertwerk vol metaforen. De structuur en discipline van de school horen we in de met toonherhaling gepaard gaande ritmische beweging in basregister en slagwerk. Het volgende, martiale thema staat symbool voor het doorlopen van de klassen. Een schertsende, humoristische versie van het hoofdthema ontbreekt niet: op school moet immers ook tijd zijn voor vrolijkheid. Het karakteristieke slotthema mondt uit in een feestelijke apotheose.
Ross Roy ist der Name einer monumentalen Villa in Brisbane, Australien, in der 1945 das St. Peter Lutheran College gegründet wurde. Im Auftrag dieses Schulorchesters komponierte Jacob de Haan dieses Konzertwerk, das voll von Metaphern ist. Die Struktur und Disziplin dieser Schule hören wir in der mit Tonwiederholungen gepaarten rhythmischen Bewegung des Bassregisters und des Schlagwerks. Das folgende martialische Thema steht als Symbol für das Durchlaufen der Klassen bis zum Ende der Schulzeit. Eine scherzhafte, humoristische Version des Hauptthemas darf nicht fehlen, denn in der Schule muss auch Zeit für kleine Späße und Lachen sein! Das charakteristische Schlussthemamündet in einem festlichen Höhepunkt.
Ross Roy est le symbole grandiose de l’excellence du compositeur. L’œuvre tient son nom de l’imposante villa éponyme située Brisbane en Australie et qui abrite en ses murs le Collège Saint Pierre, une institution luthérienne fondée en 1945. C’est pour l’Orchestre d’Harmonie de cet établissement que Jacob de Haan composa cette œuvre riche en métaphores. « J’ai tenté de décrire les valeurs de cette école. Ainsi, le thème initial se développe-t-il sur un motif rythmique imposant qui alterne entre les instruments graves et la batterie. Ce motif symbolise l’autorité et le cadre structuré de l’école. On retrouve ce thème plusieurs reprises et notamment sousune forme humoristique et espiègle : nous découvrons les bons côtés de l’école, la joie des élèves, les sentiments de fierté, d’amour et d’amitié. Autre élément thématique, une marche qui symbolise la progression des élèves dans leur cursus pour arriver leurs examens de fin d'étude. » En guise de conclusion, Jacob de Haan nous offre un thème grandiose qui s’élargit en apothéose. $191.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Ross Roy Marching band - Intermediate/advanced De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-0971085-120 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 4 SKU: BT.DHP-0971085-120 Composed by Jacob De Haan. Inspiration Series. Concert Piece. Score Only. Composed 1997. De Haske Publications #DHP 0971085-120. Published by De Haske Publications (BT.DHP-0971085-120). Jacob de Haan was commissioned to compose this concert piece by the St. Peters Wind Symphony from Brisbane, Australia. Ross Roy is the monumental late 19th century villa where St. Peters Lutheran College was founded in 1945. The villa has always remained the school symbol. In this composition, Jacob de Haan sees the Ross Roy as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of Tempo di Marcia. Thismovement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of passing through the classes up to the final examinations.Then, the Ross Roy theme is dealt with again, now in a playful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the overture to the rest of one's life. The premiere of Ross Roy was conducted by Jacob de Haan in Brisbane, on August 22, 1997.
Ross Roy is de naam van de monumentale villa in Brisbane (Australië) waar in 1945 het St. Peters Lutheran College is gesticht. In opdracht van het collegeorkest componeerde Jacob de Haan dit gevarieerde concertwerk vol metaforen. De structuur en discipline van de school horen we in de met toonherhaling gepaard gaande ritmische beweging in basregister en slagwerk. Het volgende, martiale thema staat symbool voor het doorlopen van de klassen. Een schertsende, humoristische versie van het hoofdthema ontbreekt niet: op school moet immers ook tijd zijn voor vrolijkheid. Het karakteristieke slotthema mondt uit in een feestelijke apotheose.
Ross Roy ist der Name einer monumentalen Villa in Brisbane, Australien, in der 1945 das St. Peter Lutheran College gegründet wurde. Im Auftrag dieses Schulorchesters komponierte Jacob de Haan dieses Konzertwerk, das voll von Metaphern ist. Die Struktur und Disziplin dieser Schule hören wir in der mit Tonwiederholungen gepaarten rhythmischen Bewegung des Bassregisters und des Schlagwerks. Das folgende martialische Thema steht als Symbol für das Durchlaufen der Klassen bis zum Ende der Schulzeit. Eine scherzhafte, humoristische Version des Hauptthemas darf nicht fehlen, denn in der Schule muss auch Zeit für kleine Späße und Lachen sein! Das charakteristische Schlussthemamündet in einem festlichen Höhepunkt.
Ross Roy est le symbole grandiose de l’excellence du compositeur. L’œuvre tient son nom de l’imposante villa éponyme située Brisbane en Australie et qui abrite en ses murs le Collège Saint Pierre, une institution luthérienne fondée en 1945. C’est pour l’Orchestre d’Harmonie de cet établissement que Jacob de Haan composa cette œuvre riche en métaphores. « J’ai tenté de décrire les valeurs de cette école. Ainsi, le thème initial se développe-t-il sur un motif rythmique imposant qui alterne entre les instruments graves et la batterie. Ce motif symbolise l’autorité et le cadre structuré de l’école. On retrouve ce thème plusieurs reprises et notamment sousune forme humoristique et espiègle : nous découvrons les bons côtés de l’école, la joie des élèves, les sentiments de fierté, d’amour et d’amitié. Autre élément thématique, une marche qui symbolise la progression des élèves dans leur cursus pour arriver leurs examens de fin d'étude. » En guise de conclusion, Jacob de Haan nous offre un thème grandiose qui s’élargit en apothéose. $38.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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| Menno Bosgra: Dublimania:
Concert Band: Score &
Parts Concert band [Score and Parts] Beriato Music
La musique folk irlandaise est ? la base de cette nouvelle ?uvre.Dans la premi?r...(+)
La musique folk irlandaise est ? la base de cette nouvelle ?uvre.Dans la premi?re partie le th?me principal est pr?sent? comme une ballade commen?ant avec le piccolo (pour remplacer la fl?te ? bec soprano que l?on retrouve souvent en Irlande) passant ? tous les bois puis ? l?ensemble de l?orchestre.On passe ensuite ? un style plus rock : un accompagnement soutenu et rythm? avec des effets dans les sourdines un point d?orgue et l?utilisation des cuillers du bongo aigu (remplace le bodhran) etc. si caract?ristiques de la musique irlandaise (pub irlandais).Dans cette deuxi?me partie j?ai ins?r? en contrepartie un deuxi?me th?me jou? par les divers groupesd?instruments. Ce th?me a clairement un caract?re plus legato et est par cons?quent plus m?lodieux.Le climax de l??uvre commence dans les cuivres graves avec leur th?me marcato ?labor? avec une grande rythmique dans l?accompagnement les clusters etc. et va vers un solo de percussions avec des orchestrations en 5/8 avec de nombreux mouvements parall?les dans les accords (style de la musique folk).Vers la fin le deuxi?me th?me revient ? deux reprises : une fois comme il a d?j? ?t? entendu avec plus de contre-m?lodie et de mod?le d?accompagnement ensuite sous une forme canonique dans laquelle trois groupes jouent le th?me dans un m?lange harmonieux. La fin est une r?p?tition de la partie centrale en 5/8.J?ai essay? d?exploiter bon nombre des couleurs d?un orchestre philharmonique en faisant jouer les cuivres et les bois seuls et en utilisant de nombreuses sourdines. De plus les percussions jouent un r?le de premier plan dans l?ensemble de l??uvre.
106.99 GBP - Sold by Musicroom UK | |
| Menno Bosgra: Dublimania:
Concert Band: Score Concert band Beriato Music
La musique folk irlandaise est ? la base de cette nouvelle ?uvre.Dans la premi?r...(+)
La musique folk irlandaise est ? la base de cette nouvelle ?uvre.Dans la premi?re partie le th?me principal est pr?sent? comme une ballade commen?ant avec le piccolo (pour remplacer la fl?te ? bec soprano que l?on retrouve souvent en Irlande) passant ? tous les bois puis ? l?ensemble de l?orchestre.On passe ensuite ? un style plus rock : un accompagnement soutenu et rythm? avec des effets dans les sourdines un point d?orgue et l?utilisation des cuillers du bongo aigu (remplace le bodhran) etc. si caract?ristiques de la musique irlandaise (pub irlandais).Dans cette deuxi?me partie j?ai ins?r? en contrepartie un deuxi?me th?me jou? par les divers groupesd?instruments. Ce th?me a clairement un caract?re plus legato et est par cons?quent plus m?lodieux.Le climax de l??uvre commence dans les cuivres graves avec leur th?me marcato ?labor? avec une grande rythmique dans l?accompagnement les clusters etc. et va vers un solo de percussions avec des orchestrations en 5/8 avec de nombreux mouvements parall?les dans les accords (style de la musique folk).Vers la fin le deuxi?me th?me revient ? deux reprises : une fois comme il a d?j? ?t? entendu avec plus de contre-m?lodie et de mod?le d?accompagnement ensuite sous une forme canonique dans laquelle trois groupes jouent le th?me dans un m?lange harmonieux. La fin est une r?p?tition de la partie centrale en 5/8.J?ai essay? d?exploiter bon nombre des couleurs d?un orchestre philharmonique en faisant jouer les cuivres et les bois seuls et en utilisant de nombreuses sourdines. De plus les percussions jouent un r?le de premier plan dans l?ensemble de l??uvre.
19.99 GBP - Sold by Musicroom UK | |
| The Three Drummers
(CURNOW JAMES) Percussions et Concert Band ou
Harmonie [Score and Parts] - Beginner Curnow Music
Par CURNOW JAMES. Feature the section that “delivers the energy” in this gre...(+)
Par CURNOW JAMES. Feature the section that “delivers the energy” in this great new arrangement by James Curnow. Based on a French folk song that tells a story about three young drummer boys, the music uses imitation, question and answer and stylistic rhythmic figures to challenge these proud musicians. While featuring the Percussion section, there are also great parts for everyone else, so the entire group will stay engaged and productive in rehearsal. Spirited! / Niveau : 1.5 / Musique légère originale / Répertoire / Percussions et Concert Band ou Harmonie
64.08 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Peter Kleine Schaars:
Rhythmic Warm-ups:
Concert Band: Score &
Parts Concert band [Score and Parts] De Haske Publications
De nombreux chefs on ajouté une excellente routine à leurs séances de répét...(+)
De nombreux chefs on ajouté une excellente routine à leurs séances de répétition en effectuant un travail préliminaire sur le son. Certains utilisent un choral d?autres choisissent une pièce solennelle du répertoire profane. Après avoir effectué ce travail préliminaire la répétition suit son schéma habituel : l?étude des œuvres au programme.Si vous souhaitez développer la structuration rythmique de votre formation chaque semaine insérer une étude de rythme après la phase de travail du son.Rhythmic Warm-ups (?Échauffement rythmique?) contient une série d?exercices efficaces pour toutes les formations quel que soit le niveau. En combinant les 10 pièces à cinqvoix (A à J) avec les 36 motifs rythmiques vous disposez de 360 exercices de rythme. Pour élargir votre champ d?action il vous suffit d?attribuer un motif rythmique différent à chacune des cinq voix (1-5). Si la ligne de basse (voix 5) joue un rythme unique les exercices se transforment en de petites pièces harmonieuses. Il est également possible de combiner les cinq voix avec des rythmes de votre choix (des rythmes extraits d?œuvres au programme par exemple).En exploitant des motifs rythmiques en croches régulières et des motifs en croches irrégulières (swing) vos musiciens se familiariseront avec toutes les facettes rythmiques de la musique pop. Le fait de disposer d?un même motif rythmique en 4/4 et en 12/8 permet de développer le sens du swing (même chez les musiciens les plus classiques !) en quelques séances seulement. La percussion peut accompagner les motifs rythmiques 1 à 24 avec des rythmes pop ou latino-américains à condition de jouer ces rythmes en croches régulières. Les motifs rythmiques 25 à 36 doivent être soutenus par un « groove » swing. Plusieurs exemples de motifs pour la percussion ont été insérés.Il est conseillé de terminer chaque exercice avec un point d?orgue (une ronde).Je vous souhaite à vous et à vos musiciens une pleine réussite et beaucoup de satisfaction dans l?utilisation des Rhythmic
81.99 GBP - Sold by Musicroom UK | |
| Peter Kleine Schaars:
Rhythmic Warm-ups:
Concert Band: Score Concert band De Haske Publications
De nombreux chefs on ajouté une excellente routine à leurs séances de répét...(+)
De nombreux chefs on ajouté une excellente routine à leurs séances de répétition en effectuant un travail préliminaire sur le son. Certains utilisent un choral d?autres choisissent une pièce solennelle du répertoire profane. Après avoir effectué ce travail préliminaire la répétition suit son schéma habituel : l?étude des œuvres au programme.Si vous souhaitez développer la structuration rythmique de votre formation chaque semaine insérer une étude de rythme après la phase de travail du son.Rhythmic Warm-ups (?Échauffement rythmique?) contient une série d?exercices efficaces pour toutes les formations quel que soit le niveau. En combinant les 10 pièces à cinqvoix (A à J) avec les 36 motifs rythmiques vous disposez de 360 exercices de rythme. Pour élargir votre champ d?action il vous suffit d?attribuer un motif rythmique différent à chacune des cinq voix (1-5). Si la ligne de basse (voix 5) joue un rythme unique les exercices se transforment en de petites pièces harmonieuses. Il est également possible de combiner les cinq voix avec des rythmes de votre choix (des rythmes extraits d?œuvres au programme par exemple).En exploitant des motifs rythmiques en croches régulières et des motifs en croches irrégulières (swing) vos musiciens se familiariseront avec toutes les facettes rythmiques de la musique pop. Le fait de disposer d?un même motif rythmique en 4/4 et en 12/8 permet de développer le sens du swing (même chez les musiciens les plus classiques !) en quelques séances seulement. La percussion peut accompagner les motifs rythmiques 1 à 24 avec des rythmes pop ou latino-américains à condition de jouer ces rythmes en croches régulières. Les motifs rythmiques 25 à 36 doivent être soutenus par un « groove » swing. Plusieurs exemples de motifs pour la percussion ont été insérés.Il est conseillé de terminer chaque exercice avec un point d?orgue (une ronde).Je vous souhaite à vous et à vos musiciens une pleine réussite et beaucoup de satisfaction dans l?utilisation des Rhythmic
10.99 GBP - Sold by Musicroom UK | |
| William Vean: Animal
Kingdom: Concert Band:
Score & Parts Concert band [Score and Parts] Gobelin Music Publications
In this composition William Vean takes you on a journey through the fascinating ...(+)
In this composition William Vean takes you on a journey through the fascinating and exciting world of animals. Apart from it being a composition filled with 'special effects' Animal Kingdom contains many educational elements such as playing inswing (triplets feeling) chromatics flutter tonguing gypsy tuning varying keys and of course dynamics and articulation. The melodic lines occur in all four voices as well as in all percussion parts providing each musician with theopportunity to play a solo or to accompany. Highly recommended for your youth band! William Vean is an educational composer. He knows how to musically shape the special elements from our daily lives. His music is therefore veryexpressive containing creative solutions to possible problems. Special ways of playing make his music particularly interesting for the winds but the percussion section is also featured in his special effects. The world of the animalsalways plays on ones imagination. In Animal Kingdom William Vean has portrayed a number of animals in a special manner: Kevin Kangaroo - The jumping character of this animal can be heard in different voices. The swing style alsoemphasizes the characteristic movements of the kangaroo. Playing in swing style can be practised by using scales. Eddy Elephant - For some of his smaller fellow fauna friends this can be quite an ordeal but for Eduard (Eddy for friendsand intimates) it is his daily walk. Baldrick Bat - Baldrick the Bat is a mysterious character. This can be heard in the fast moving valves and keys accompanied by special effects in the percussion section. Curtis Camel - Curtisthe Camel trudges across the desert feeling bored. The idea that the horizon will never change does not affect him anymore. He has accepted his fate. The distinctive tones from the gypsy scale provide the suitable oriental sounds. BettyButterfly - Butterfly Betty elegantly and without worries flutters from flower to flower in the garden. Her motto: Carpe Diem (Seize the Day). Betty is a one-day butterfly. Marvin Monkey - A 'swing' monkey stirs up the feelings. Evenmembers of the orchestra will look like real monkeys. How about your audience? Each part has its own difficulties and challenges. Important in the first part is playing 'in swing' (triplets feeling). This can be practised usingscales. In the second part ensemble playing and balance are important. In Baldrick additional information on the effects that have to be played might be useful. 'New' sounds are of course welcome. Curtis the Camel introduces thegypsy scale. Additional explanation of the use of the scale might be useful. Key changes are interesting in this part. A slight accent on the first beat of the bar will add to the charm of this part. Marvin the Monkey brings back the swingrhythm that was introduced in the first part altern
73.99 GBP - Sold by Musicroom UK | |
| William Vean: Animal
Kingdom: Concert Band:
Score Concert band Gobelin Music Publications
In this composition William Vean takes you on a journey through the fascinating ...(+)
In this composition William Vean takes you on a journey through the fascinating and exciting world of animals. Apart from it being a composition filled with 'special effects' Animal Kingdom contains many educational elements such as playing inswing (triplets feeling) chromatics flutter tonguing gypsy tuning varying keys and of course dynamics and articulation. The melodic lines occur in all four voices as well as in all percussion parts providing each musician with theopportunity to play a solo or to accompany. Highly recommended for your youth band! William Vean is an educational composer. He knows how to musically shape the special elements from our daily lives. His music is therefore veryexpressive containing creative solutions to possible problems. Special ways of playing make his music particularly interesting for the winds but the percussion section is also featured in his special effects. The world of the animalsalways plays on ones imagination. In Animal Kingdom William Vean has portrayed a number of animals in a special manner: Kevin Kangaroo - The jumping character of this animal can be heard in different voices. The swing style alsoemphasizes the characteristic movements of the kangaroo. Playing in swing style can be practised by using scales. Eddy Elephant - For some of his smaller fellow fauna friends this can be quite an ordeal but for Eduard (Eddy for friendsand intimates) it is his daily walk. Baldrick Bat - Baldrick the Bat is a mysterious character. This can be heard in the fast moving valves and keys accompanied by special effects in the percussion section. Curtis Camel - Curtisthe Camel trudges across the desert feeling bored. The idea that the horizon will never change does not affect him anymore. He has accepted his fate. The distinctive tones from the gypsy scale provide the suitable oriental sounds. BettyButterfly - Butterfly Betty elegantly and without worries flutters from flower to flower in the garden. Her motto: Carpe Diem (Seize the Day). Betty is a one-day butterfly. Marvin Monkey - A 'swing' monkey stirs up the feelings. Evenmembers of the orchestra will look like real monkeys. How about your audience? Each part has its own difficulties and challenges. Important in the first part is playing 'in swing' (triplets feeling). This can be practised usingscales. In the second part ensemble playing and balance are important. In Baldrick additional information on the effects that have to be played might be useful. 'New' sounds are of course welcome. Curtis the Camel introduces thegypsy scale. Additional explanation of the use of the scale might be useful. Key changes are interesting in this part. A slight accent on the first beat of the bar will add to the charm of this part. Marvin the Monkey brings back the swingrhythm that was introduced in the first part altern
13.99 GBP - Sold by Musicroom UK | |
| Philip Sparke: Colorado
Springs: Concert Band:
Score & Parts Concert band [Score and Parts] Anglo Music
Colorado Springs est une œuvre de commande pour l?Orchestre d?Harmonie de l...(+)
Colorado Springs est une œuvre de commande pour l?Orchestre d?Harmonie de l?Académie Militaire de l?Armée de l?Air des États-Unis placé sous la direction et le commandement du Lieutenant Steve Grimo.La ville de Colorado Springs siège de l?Académie Militaire de l?Armée de l?Air des États-Unis est située à l?extrémité sud des montagnes Rocheuses dans un environnement naturel spectaculaire. Véritable paradis pour les randonneurs les grimpeurs et les skieurs la ville attire chaque année des touristes du monde entier. L?Académie Militaire joue un rôle important dans la vie de la région. Elle est la résidence principale de l?Orchestre d?Harmonie de l?AcadémieMilitaire de l?Armée de l?Air des États-Unis une des formations professionnelles qui assurent la vie musicale des Forces Aériennes américaines.Cette suite est composée de trois mouvements : 1. The Springs Fanfare?The Springs? est le surnom donné à la ville par ses habitants. Le premier mouvement s?ouvre avec une éblouissante fanfare pour cuivres et percussion. Les cors débutent à l?unisson. Les autres cuivres se joignent à la structure tandis que les bois développent des motifs ornementés. Après un bref changement de style le matériel thématique initial est repris et mène le mouvement vers sa conclusion.2. Seven FallsSeven Falls est le nom d?une superbe cascade haute de cinquante-cinq mètres et dont l?eau cristalline descend le long de sept marches moulées dans le décor granitique de Pikes Peak. Dans ce mouvement les bois illustrent le cheminement de l?eau étincelante qui coule vers un célèbre poste d?observation situé au pied de la chute.3. Pikes PeakAu nord-ouest de Colorado Springs se dresse Pikes Peak qui culmine à 4300 mètres. Il est le sommet le plus à l?est des montagnes Rocheuses attisant la convoitise des explorateurs et des pionniers qui y découvrirent de l?or en 1859 provoquant une véritable ruée vers l?or. Le nom de la montagne devint un cri de ralliement : 'Pikes Peak or bust!' (?Pikes Peak ou la mort !?). Pikes Peak est le
168.99 GBP - Sold by Musicroom UK | |
| Philip Sparke: Colorado
Springs: Concert Band:
Score Concert band Anglo Music
I>Colorado Springs est une œuvre de commande pour l?Orchestre d?Harmonie de...(+)
I>Colorado Springs est une œuvre de commande pour l?Orchestre d?Harmonie de l?Académie Militaire de l?Armée de l?Air des États-Unis placé sous la direction et le commandement du Lieutenant Steve Grimo.La ville de Colorado Springs siège de l?Académie Militaire de l?Armée de l?Air des États-Unis est située à l?extrémité sud des montagnes Rocheuses dans un environnement naturel spectaculaire. Véritable paradis pour les randonneurs les grimpeurs et les skieurs la ville attire chaque année des touristes du monde entier. L?Académie Militaire joue un rôle important dans la vie de la région. Elle est la résidence principale de l?Orchestre d?Harmonie de l?Académie Militaire del?Armée de l?Air des États-Unis une des formations professionnelles qui assurent la vie musicale des Forces Aériennes américaines.Cette suite est composée de trois mouvements : 1. The Springs Fanfare?The Springs? est le surnom donné à la ville par ses habitants. Le premier mouvement s?ouvre avec une éblouissante fanfare pour cuivres et percussion. Les cors débutent à l?unisson. Les autres cuivres se joignent à la structure tandis que les bois développent des motifs ornementés. Après un bref changement de style le matériel thématique initial est repris et mène le mouvement vers sa conclusion.2. Seven FallsSeven Falls est le nom d?une superbe cascade haute de cinquante-cinq mètres et dont l?eau cristalline descend le long de sept marches moulées dans le décor granitique de Pikes Peak. Dans ce mouvement les bois illustrent le cheminement de l?eau étincelante qui coule vers un célèbre poste d?observation situé au pied de la chute.3. Pikes PeakAu nord-ouest de Colorado Springs se dresse Pikes Peak qui culmine à 4300 mètres. Il est le sommet le plus à l?est des montagnes Rocheuses attisant la convoitise des explorateurs et des pionniers qui y découvrirent de l?or en 1859 provoquant une véritable ruée vers l?or. Le nom de la montagne devint un cri de ralliement : 'Pikes Peak or bust!' (?Pikes Peak ou la mort !?). Pikes Peak est le
18.99 GBP - Sold by Musicroom UK | |
| Piet Swerts: The Titanic
Saga: Concert Band: Score
& Parts Concert band [Score and Parts] De Haske Publications
Le prologue dépeint l'excitation de cette foule impatiente d'embarquer sur le T...(+)
Le prologue dépeint l'excitation de cette foule impatiente d'embarquer sur le Titanic amarré dans le port de Southampton en Angleterre. Le motif principal de ce passage d?ouverture fait référence à Big Ben remarque touchante pour mieux installer le décor d'une scène typiquement britannique. L'agitation des futurs passagers s'exprime par des sections polyrythmiques. Le premier thème aux accents héroïques dérivé du motif Big Ben est exposé. La trame devient plus constante fluide répétitive symbole du doux départ du célèbre palais flottant. Le tableau suivant est une aquarelle riche en couleurs ; motifs ascendants et descendants rappellent le voyage en haute mer. On entend lesenfants jouer le Capitaine Smith donner des ordres. On perçoit aussi les différences d?atmosphère entre les ponts de première et deuxième classes ; la pression ronflante des moteurs. Tout est présent dans cette fresque musicale. On entend surtout l'accélération des moteurs suite à un ordre du Capitaine soumis à la pression de l'armateur. Faisant suite à un accelerando le piccolo et la percussion font écho d'un signal en morse provenant d'un autre bateau qui prévient d'un danger immédiat : la proximité d'un iceberg. Hélas ce message est ignoré et les moteurs continuent de tourner à plein régime jusqu'au moment fatidique où le Titanic heurte l'iceberg. Le motif plaintif du saxophone accompagné de trilles des clarinettes traduit l'arrêt des moteurs après la collision. La percussion marque le tristement célèbre S.O.S. en code morse : trois points trois traits trois points. Les passagers sont pris de panique. Finalement nous assistons au lent naufrage du paquebot. L'épilogue reprend le motif initial qui se métamorphose en une fin dramatique.
189.99 GBP - Sold by Musicroom UK | |
| Piet Swerts: The Titanic
Saga: Concert Band: Score
& Parts Concert band De Haske Publications
Le prologue dépeint l'excitation de cette foule impatiente d'embarquer sur le T...(+)
Le prologue dépeint l'excitation de cette foule impatiente d'embarquer sur le Titanic amarré dans le port de Southampton en Angleterre. Le motif principal de ce passage d?ouverture fait référence à Big Ben remarque touchante pour mieux installer le décor d'une scène typiquement britannique. L'agitation des futurs passagers s'exprime par des sections polyrythmiques. Le premier thème aux accents héroïques dérivé du motif Big Ben est exposé. La trame devient plus constante fluide répétitive symbole du doux départ du célèbre palais flottant. Le tableau suivant est une aquarelle riche en couleurs ; motifs ascendants et descendants rappellent le voyage en haute mer. On entend lesenfants jouer le Capitaine Smith donner des ordres. On perçoit aussi les différences d?atmosphère entre les ponts de première et deuxième classes ; la pression ronflante des moteurs. Tout est présent dans cette fresque musicale. On entend surtout l'accélération des moteurs suite à un ordre du Capitaine soumis à la pression de l'armateur. Faisant suite à un accelerando le piccolo et la percussion font écho d'un signal en morse provenant d'un autre bateau qui prévient d'un danger immédiat : la proximité d'un iceberg. Hélas ce message est ignoré et les moteurs continuent de tourner à plein régime jusqu'au moment fatidique où le Titanic heurte l'iceberg. Le motif plaintif du saxophone accompagné de trilles des clarinettes traduit l'arrêt des moteurs après la collision. La percussion marque le tristement célèbre S.O.S. en code morse : trois points trois traits trois points. Les passagers sont pris de panique. Finalement nous assistons au lent naufrage du paquebot. L'épilogue reprend le motif initial qui se métamorphose en une fin dramatique.
189.99 GBP - Sold by Musicroom UK | |
| Piet Swerts: The Titanic
Saga: Concert Band: Score Concert band De Haske Publications
Le prologue dépeint l'excitation de cette foule impatiente d'embarquer sur le T...(+)
Le prologue dépeint l'excitation de cette foule impatiente d'embarquer sur le Titanic amarré dans le port de Southampton en Angleterre. Le motif principal de ce passage d?ouverture fait référence à Big Ben remarque touchante pour mieux installer le décor d'une scène typiquement britannique. L'agitation des futurs passagers s'exprime par des sections polyrythmiques. Le premier thème aux accents héroïques dérivé du motif Big Ben est exposé. La trame devient plus constante fluide répétitive symbole du doux départ du célèbre palais flottant. Le tableau suivant est une aquarelle riche en couleurs ; motifs ascendants et descendants rappellent le voyage en haute mer. On entend lesenfants jouer le Capitaine Smith donner des ordres. On perçoit aussi les différences d?atmosphère entre les ponts de première et deuxième classes ; la pression ronflante des moteurs. Tout est présent dans cette fresque musicale. On entend surtout l'accélération des moteurs suite à un ordre du Capitaine soumis à la pression de l'armateur. Faisant suite à un accelerando le piccolo et la percussion font écho d'un signal en morse provenant d'un autre bateau qui prévient d'un danger immédiat : la proximité d'un iceberg. Hélas ce message est ignoré et les moteurs continuent de tourner à plein régime jusqu'au moment fatidique où le Titanic heurte l'iceberg. Le motif plaintif du saxophone accompagné de trilles des clarinettes traduit l'arrêt des moteurs après la collision. La percussion marque le tristement célèbre S.O.S. en code morse : trois points trois traits trois points. Les passagers sont pris de panique. Finalement nous assistons au lent naufrage du paquebot. L'épilogue reprend le motif initial qui se métamorphose en une fin dramatique.
32.50 GBP - Sold by Musicroom UK | |
| Tom De Haes: Sword of
Honour: Concert Band:
Score & Parts Concert band [Score and Parts] Scherzando
Sword of Honour (?L?épée de l?honneur?) de Tom de Haes retrace l?histoire de G...(+)
Sword of Honour (?L?épée de l?honneur?) de Tom de Haes retrace l?histoire de Gauvain un des nobles chevaliers du roi Arthur. Gauvain apparaît essentiellement dans les premiers récits de la légende arthurienne. Il est célèbre pour avoir accepté le défi lancé par le mystérieux Chevalier vert : lui trancher la tête et le retrouver dans un an jour pour jour afin d'être à son tour décapité. Fidèle à sa parole le preux et loyal Gauvain se présente pour la revanche mais ne sera pas décapité. Le Chevalier vert n?était autre que Bertilak de Hautdésert qui fut envoyé pour tester la bravoure des Chevaliers du roi Arthur. Plus tard dans l?histoire du château de Camelot Gauvaina été quelque peu éclipsé par d?autres chevaliers tels que Lancelot et Perceval. Comme eux il incarne le chevalier courtois : courageux honnête et fier.Cette composition s?articule autour de deux thèmes principaux qui illustrent le caractère noble et audacieux de Gauvain. Présentés dans diverses harmonisations et orchestrations les deux thèmes dévoilent les multiples facettes de ces deux qualités courtoises. Sword of Honour s?ouvre dans un univers sonore mystérieux d?où s?élèvent des cadences pour la flûte et la trompette suivies d?un Allegro marziale. Le second des deux thèmes principaux est alors exposé par les cors et les trombones. S?ensuit un passage lent dans lequel la percussion reprend des fragments du premier thème. La densité maximale est atteinte dans le finale solennel ; les deux thèmes sont interprétés simultanément.
124.99 GBP - Sold by Musicroom UK | |
| Tom De Haes: Sword of
Honour: Concert Band:
Score Concert band Scherzando
Sword of Honour (?L?épée de l?honneur?) de Tom de Haes retrace l?histoire de G...(+)
Sword of Honour (?L?épée de l?honneur?) de Tom de Haes retrace l?histoire de Gauvain un des nobles chevaliers du roi Arthur. Gauvain apparaît essentiellement dans les premiers récits de la légende arthurienne. Il est célèbre pour avoir accepté le défi lancé par le mystérieux Chevalier vert : lui trancher la tête et le retrouver dans un an jour pour jour afin d'être à son tour décapité. Fidèle à sa parole le preux et loyal Gauvain se présente pour la revanche mais ne sera pas décapité. Le Chevalier vert n?était autre que Bertilak de Hautdésert qui fut envoyé pour tester la bravoure des Chevaliers du roi Arthur. Plus tard dans l?histoire du château de Camelot Gauvaina été quelque peu éclipsé par d?autres chevaliers tels que Lancelot et Perceval. Comme eux il incarne le chevalier courtois : courageux honnête et fier.Cette composition s?articule autour de deux thèmes principaux qui illustrent le caractère noble et audacieux de Gauvain. Présentés dans diverses harmonisations et orchestrations les deux thèmes dévoilent les multiples facettes de ces deux qualités courtoises. Sword of Honour s?ouvre dans un univers sonore mystérieux d?où s?élèvent des cadences pour la flûte et la trompette suivies d?un Allegro marziale. Le second des deux thèmes principaux est alors exposé par les cors et les trombones. S?ensuit un passage lent dans lequel la percussion reprend des fragments du premier thème. La densité maximale est atteinte dans le finale solennel ; les deux thèmes sont interprétés simultanément.
24.99 GBP - Sold by Musicroom UK | |
| Satoshi Yagisawa:
Intermezzo: Concert Band:
Score & Parts Concert band [Score and Parts] De Haske Publications
for Clarinet and Concert Band / Harmonie-Intermezzo est le deuxième mouvement e...(+)
for Clarinet and Concert Band / Harmonie-Intermezzo est le deuxième mouvement extrait du Concerto pour Clarinette de Satoshi Yagisawa. Le concerto a été créé en 2010 par l?Orchestre d?Harmonie d?Higashi-Hiroshima sous la direction d?Atsushi Kageyama avec la participation de Shinsuke Hashimoto clarinettiste de l?Orchestre Symphonique d?Hiroshima. Cette oeuvre s?inspire du fait que Satoshi Yagisawa et Shinsuke Hashimoto sont tous deux diplômés du Conservatoire de musique de Musashino.Le Concerto pour Clarinette représente l?apogée de la série de concertos de Satoshi Yagisawa qui comprend aussi une Suite concertante pour piano et orchestre un Concerto pour trompette unConcerto pour trombone un Concertino pour saxophone et un Concertino pour percussion solo et orchestre d?harmonie.En raison de sa grande popularité le thème émouvant du deuxième mouvement qui est intitulé Intermezzo est souvent interprété indépendamment.Soliste: Degré de difficulté 4
96.99 GBP - Sold by Musicroom UK | |
| Satoshi Yagisawa:
Intermezzo: Concert Band:
Score Concert band De Haske Publications
for Clarinet and Concert Band / Harmonie-Intermezzo est le deuxième mouvement e...(+)
for Clarinet and Concert Band / Harmonie-Intermezzo est le deuxième mouvement extrait du Concerto pour Clarinette de Satoshi Yagisawa. Le concerto a été créé en 2010 par l?Orchestre d?Harmonie d?Higashi-Hiroshima sous la direction d?Atsushi Kageyama avec la participation de Shinsuke Hashimoto clarinettiste de l?Orchestre Symphonique d?Hiroshima. Cette oeuvre s?inspire du fait que Satoshi Yagisawa et Shinsuke Hashimoto sont tous deux diplômés du Conservatoire de musique de Musashino.Le Concerto pour Clarinette représente l?apogée de la série de concertos de Satoshi Yagisawa qui comprend aussi une Suite concertante pour piano et orchestre un Concerto pour trompette unConcerto pour trombone un Concertino pour saxophone et un Concertino pour percussion solo et orchestre d?harmonie.En raison de sa grande popularité le thème émouvant du deuxième mouvement qui est intitulé Intermezzo est souvent interprété indépendamment.Soliste: Degré de difficulté 4
20.99 GBP - Sold by Musicroom UK | |
| Happy Summer Song (TOMS
GRAYDON A) Concert band [Score and Parts] - Beginner Curnow Music
Par TOMS GRAYDON A.. This lighthearted piece is ideal for the Grade 1 band. Repe...(+)
Par TOMS GRAYDON A.. This lighthearted piece is ideal for the Grade 1 band. Repeated notes in a sequential melody, simple counterpoint between the Woodwinds and Trumpets, interesting use of common Auxiliary Percussion instruments, a limited palette of rhythms and easy Low Brass/ Low Woodwind parts all combine so that you can program HAPPY SUMMER SONG with confidence. Whether you have a full complement of players or your instrumentation is a little 'sketchy'; whether you have plenty of rehearsal time or that precious commodity is a bit rare, you can count on having this one ready in time for the show. / Niveau : 1 / Répertoire / Concert Band ou Harmonie
78.87 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Turn The Beat Around
(JACKSON / GERALD
JACKSON) Concert band [Score and Parts] - Intermediate De Haske Publications
Arr. Peter Kleine Schaars. Par JACKSON / GERALD JACKSON. Dans les années 1990, ...(+)
Arr. Peter Kleine Schaars. Par JACKSON / GERALD JACKSON. Dans les années 1990, la chanteuse américano-cubaine Gloria Estefan réalise un pétillant enregistrement du standard de la musique disco Turn the Beat Around de Vicki Sue Robinson. Évoluant sur un rythme typiquement latinoaméricain, la chanson « revue et corrigée » par Gloria Estefan connaît un nouveau succès planétaire. Peter Kleine Schaars a réalisé un excellent arrangement contenant un solo fascinant pour la percussion. La musique est dynamique, rythmée et passionnante. / Niveau : 3 / Date parution : 1905-06-28/ Répertoire / Concert Band ou Harmonie
113.38 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Jarrige Nicolas :
Mysteria. Conducteur /
Score Orchestre d'Harmonie / Concert
Band [Sheet music] Dhalmann
MystériA est une pièce d'ouverture construite en trois parties. Son dynamisme ...(+)
MystériA est une pièce d'ouverture construite en trois parties. Son dynamisme vous permettra de commencer avec brio votre concert, et de d'ores et déjà surprendre votre public.Après une introduction percutante aux cuivres et aux percussions, une rythmique se met en place et un premier thème étrange et enjoué est développé par les bois. Les cuivres réapparaissent et le morceau prend de l'ampleur jusqu'à exploser!(mesure 54).Après ce déchaînement de lumière et de polyrythmie, le temps se calme et le mystère s'installe...Une deuxième partie débute sur des accents très graves, un thème ample et sombre est joué dans les parties basses de l'orchestre, accompagné par des ostinatos de bois et de percussions. Ce thème est ensuite développé par tout l'orchestre, jusqu'à ce que le lumière revienne... Les percussions donnent la nouvelle route à suivre, en mélangeant les rythmes binaires et ternaires. Sur ce nouveau rythme le thème du début est transformé, il danse!La pièce se poursuit en reprenant la rythmique initiale et nous emmène vers une coda ternaire pleine de fougue où tout l'orchestre doit se donner au maximum... surprise!! Un accord de quarte très piano rappelle que le mystère envahit cette pièce, mais un tutti d'orchestre ponctue avec dynamisme cette étrange ouverture...Nomenclature : Flûte 1Flûte 2HautboisBasson Clarinette 1 SibClarinette 2 SibClarinette 3 SibClarinette basseSaxophone alto 1Saxophone alto 2Saxophone ténorSaxophone baryton Trompette 1 SibTrompette 2 SibBugle Cor 1 en FaCor 2 en FaTrombone 1Trombone 2Trombone 3BarytonTuba basse MalletsBatteriePercussion 1Percussion 2Timbales Parties optionnelles : Cor 1 en MibCor 2 en MibBaryton BbTuba Bb clé de Fa et clé de Sol / Orchestre D'Harmonie
143.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Hankus Netsky: Nonantum
Bulgar (Score Only):
Concert Band: Score Concert band BandQuest
I wrote The Nonantum Bulgar in response to a request for a klezmer-style piece f...(+)
I wrote The Nonantum Bulgar in response to a request for a klezmer-style piece for middle school band. Since my local middle school (F. A. Day) is located in close proximity to Nonantum the oldest area of Newton MA I decided to imagine the dedication of the Adams St. Shul our city's oldest synagogue which took place around a hundred years ago (December 15 1912). According to the Yiddish and English poster announcing the dedication the event featured the a prominent Boston cantor and choir and a klezmer orchestra leading a 'Grand March' down Adams St. The piece tries to re-create what the klezmer band might have played on that occasion. A Bulgar is a Romanian Jewish Dance thatwas very popular among Jewish immigrants at the beginning of the twentieth century. The trumpet solo that opens the piece is a typical rubato prelude with the trumpet playing 'cantorial-style' Jewish ornaments and phrasing in the manner of Eastern-European Jewish prayer leaders. Once the dance starts the piece is underscored with a Romanian Jewish 'Bulgaresca' rhythm heard in the trombone snare drum and tympani. The 'bulgar' section of the piece begins with a typical klezmer band orchestration of the time featuring solo clarinet (played with a somewhat nasal tone) trumpet (or even more ideally cornet) trombone saxophone tuba and percussion. The percussion section is prominently featured in the third strain. In the final round of the opening melody the band slows down in the manner of a Russian 'Grand March ' bringing the piece to a proud and majestic conclusion. --Hankus Netsky
10.99 GBP - Sold by Musicroom UK | |
| Jan Van der Roost:
Credentium: Concert Band:
Score & Parts Concert band De Haske Publications
A spectacular dive via an extended chromatic scale immediately submerges us in a...(+)
A spectacular dive via an extended chromatic scale immediately submerges us in a charged and somewhat archaic-feeling atmosphere. Trumpets horns and trombones resound in rhythmic patterns buttressed by restless motifs in the percussion. A second theme in the woodwinds begins much calmer but is quickly pushed aside by that same brass offensive. This introduction is the musical expression of the sometimes tumultuous early history of the town of Peer in Belgium. It closes with a D scale played over two octaves and repeated three times symbolizing the church steeples that dominate the townscape. Peer has the credentials of a town and people should know about it.There followsa rhythmic turbulent passage: in the course of history Peer has not been spared the ravages of war arson occupation epidemic and other evils. In contrast a slow pastoral lyrical part expresses the periods of peace and prosperity the town has known as well as the serene geographic setting that still characterizes the place. Various instruments in groups are developed in solo style while the accompaniment displays vast painterly images of sound. Now and then an exotic intonation is heard: a variety of peoples and cultures have left their mark on the town.This episode of tranquility and peacefulness comes to a sudden end when via a surprising almost chaotic transitional passage we are in effect transported back to our own time. A hopeful festive march expresses the confidence in the future that the Royal Concert Band of Peer exudes. This confidence is wholly justified: under the direction of conductor Willy Fransen the 95 members of the concert band have experienced an extended period of good fortune and the 75 musicians of the youth band - and the 45 little musicians of the mini-band - are involved in thriving operations.
189.99 GBP - Sold by Musicroom UK | |
| Jan Van der Roost:
Credentium: Concert Band:
Score & Parts Concert band [Score and Parts] De Haske Publications
A spectacular dive via an extended chromatic scale immediately submerges us in a...(+)
A spectacular dive via an extended chromatic scale immediately submerges us in a charged and somewhat archaic-feeling atmosphere. Trumpets horns and trombones resound in rhythmic patterns buttressed by restless motifs in the percussion. A second theme in the woodwinds begins much calmer but is quickly pushed aside by that same brass offensive. This introduction is the musical expression of the sometimes tumultuous early history of the town of Peer in Belgium. It closes with a D scale played over two octaves and repeated three times symbolizing the church steeples that dominate the townscape. Peer has the credentials of a town and people should know about it.There followsa rhythmic turbulent passage: in the course of history Peer has not been spared the ravages of war arson occupation epidemic and other evils. In contrast a slow pastoral lyrical part expresses the periods of peace and prosperity the town has known as well as the serene geographic setting that still characterizes the place. Various instruments in groups are developed in solo style while the accompaniment displays vast painterly images of sound. Now and then an exotic intonation is heard: a variety of peoples and cultures have left their mark on the town.This episode of tranquility and peacefulness comes to a sudden end when via a surprising almost chaotic transitional passage we are in effect transported back to our own time. A hopeful festive march expresses the confidence in the future that the Royal Concert Band of Peer exudes. This confidence is wholly justified: under the direction of conductor Willy Fransen the 95 members of the concert band have experienced an extended period of good fortune and the 75 musicians of the youth band - and the 45 little musicians of the mini-band - are involved in thriving operations.
189.99 GBP - Sold by Musicroom UK | |
| Hankus Netsky: Nonantum
Bulgar: Concert Band:
Score & Parts Concert band BandQuest
“I wrote The Nonantum Bulgar in response to a request for a klezmer-style ...(+)
“I wrote The Nonantum Bulgar in response to a request for a klezmer-style piece for middle school band. Since my local middle school (F. A. Day) is located in close proximity to Nonantum the oldest area of Newton MA Idecided to imagine the dedication of the Adams St. Shul our city's oldest synagogue which took place around a hundred years ago (December 15 1912). According to the Yiddish and English poster announcing the dedication theevent featured the a prominent Boston cantor and choir and a klezmer orchestra leading a 'Grand March' down Adams St. The piece tries to re-create what the klezmer band might have played on that occasion.A Bulgar is aRomanian Jewish Dance that was very popular among Jewish immigrants at the beginning of the twentieth century. The trumpet solo that opens the piece is a typical rubato prelude with the trumpet playing 'cantorial-style' Jewishornaments and phrasing in the manner of Eastern-European Jewish prayer leaders. Once the dance starts the piece is underscored with a Romanian Jewish 'Bulgaresca' rhythm heard in the trombone snare drum and tympani. The'bulgar' section of the piece begins with a typical klezmer band orchestration of the time featuring solo clarinet (played with a somewhat nasal tone) trumpet (or even more ideally cornet) trombone saxophone tuba andpercussion. The percussion section is prominently featured in the third strain. In the final round of the opening melody the band slows down in the manner of a Russian 'Grand March ' bringing the piece to a proud and majesticconclusion.” --Hankus Netsky
57.50 GBP - Sold by Musicroom UK | |
| When the lights go down
(HOUBEN KEVIN) Concert band [Score] Houben Editions
Par HOUBEN KEVIN. Kevin Houben a composé avec When the Lights Go Down, un merve...(+)
Par HOUBEN KEVIN. Kevin Houben a composé avec When the Lights Go Down, un merveilleux choral qui peut amener un moment de réflexion dans tout programme de concert. Les mélodies humbles et magnifiques du début de cette composition se développent lentement jusqu'à atteindre un point culminant avec une orchestration croissante. Le morceau commence par un Adagio Meditativo suggestif, suivra l’exposition du thème principal. Une section centrale sous forme de pont emmène l'auditeur à travers les différentes sphères dans lesquelles les percussions mélodiques et rythmiques enrichissent les parties du choral. Finalement, les éléments thématiques de l'introduction ramènent le morceau à une fin calme et paisible. La simplicité même avec laquelle cette œuvre est écrite en fait une pièce de concert accomplie et magnifique. ‘When the Lights Go Down’ fait référence à un moment où le temps s'arrête pour un instant, au calme en soi et autour de soi./ Répertoire / Concert Band/Harmonie
33.68 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| When the lights go down
(HOUBEN KEVIN) Concert band Houben Editions
Par HOUBEN KEVIN. Kevin Houben a composé avec When the Lights Go Down, un merve...(+)
Par HOUBEN KEVIN. Kevin Houben a composé avec When the Lights Go Down, un merveilleux choral qui peut amener un moment de réflexion dans tout programme de concert. Les mélodies humbles et magnifiques du début de cette composition se développent lentement jusqu'à atteindre un point culminant avec une orchestration croissante. Le morceau commence par un Adagio Meditativo suggestif, suivra l’exposition du thème principal. Une section centrale sous forme de pont emmène l'auditeur à travers les différentes sphères dans lesquelles les percussions mélodiques et rythmiques enrichissent les parties du choral. Finalement, les éléments thématiques de l'introduction ramènent le morceau à une fin calme et paisible. La simplicité même avec laquelle cette œuvre est écrite en fait une pièce de concert accomplie et magnifique. ‘When the Lights Go Down’ fait référence à un moment où le temps s'arrête pour un instant, au calme en soi et autour de soi./ Répertoire / Concert Band/Harmonie
161.33 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Robert Buckley:
Procession of the
Sorcerers: Concert Band:
Score Concert band Fentone Music
Parfois juste au-delà de l'horizon parfois sous nos pieds. C'est un pays insai...(+)
Parfois juste au-delà de l'horizon parfois sous nos pieds. C'est un pays insaisissable fait de crépuscule et de brume de chimères et lueurs un monde qui nous intrigue et nourrit notre imagination. Imaginez un cortège coloré de créatures et de personnages tout droit sortis des mythes ancestraux et légendes incroyables : magiciens et sorcières bouffons et jongleurs ménestrels et troubadours échassiers et monocyclistes lutins et gargouilles gnomes bruyants et farfadets riants dragons géants et fées volantes carrosses rutilants tirés par des licornes caracolantes tous se dirigent vers le château de Merlin l?Enchanteur.La musique est à l?image du scénario imaginé par lecompositeur : originale et lumineuse pour mieux nous livrer les secrets des couleurs médiévales. La percussion ouvre le cortège puis vient le temps de l?exposition des thèmes avant de les unir dans un subtil mélange aux couleurs de plus en plus intenses jusqu?au tableau final : l?entrée au château du devin et magicien Merlin.
10.99 GBP - Sold by Musicroom UK | |
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