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Elburg Fantasy (DE HAAN JACOB)
197.19
Elburg Fantasy (DE HAAN JACOB)
Fanfare
[Conducteur et Parties séparées]
-
Intermédiaire/avancé
De Haske Publications
Par DE HAAN JACOB. This musical fantasy depicts the history of the Dutch fortifi...
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Par DE HAAN JACOB. This musical fantasy depicts the history of the Dutch fortified town of Elburg. The work begins with an atmospheric medieval picture of the Convent of St Agnes, the nunnery that was built in the first half of the 15th century. We hear the sound of the convent bells together with an upward motif, which will reappear later in the work. Next, the rest of Elburg is featured, including the fortress - from which the bells of the Sint-Nicolaaskerk (Saint Nicholas Church) are ringing. Then, cheerful sounds can be heard at the Vischpoort (Fish Gate), where a dancing group is performing a 16th century French folk dance (a branle des chevaux). We also hear old wagons rumbling over the town’scobble stones. Trade made this Hanseatic town a lively place. The repetitive upward motif first heard in the introduction now develops into a more distinct feature, reflecting the mercantile spirit of the town residents. Then follows the slow middle movement, in which the clock has been turned back to the time when Elburg was still lying on the Zuiderzee (which was a bay of the North Sea), and was struggling with floods. After the second St. Marcellus Flood (1362) and the water flood of 1367 it was decided that the town would be relocated. We now hear the theme of branle des chevaux in a minor key, followed by a death bell sounding in remembrance of the drowned citizens of the former town. Back in our own time, a slow, expressive theme in Baroque style mirrors Elburg’s tranquil places, such as the Feithenhof (Feithen Court) and the Weduwenhofje (Widow Court). Then the bustle returns with motifs from the introduction, followed by an attractive theme in which present-day Elburg is portrayed with its many tourists. Now, suddenly, there is an echo from the past, depicting the dramatic floods and wars that once plagued the town. This leads to the grand closing theme: branle des chevaux is heard for a final time from the perspective of the historic town centre. / Niveau : 4 / Pièce de concert / Répertoire / Fanfare
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The Book Of Urizen (DE HAAN JACOB)
135.08
The Book Of Urizen (DE HAAN JACOB)
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Intermédiaire/avancé
De Haske Publications
Par DE HAAN JACOB. The Book of Urizen is a work for concert band, solo soprano, ...
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Par DE HAAN JACOB. The Book of Urizen is a work for concert band, solo soprano, and a male narrator in which sound collages of religious expressions are used. The piece is inspired by the compelling visionary poem of the same name (which the poet illustratedhimself) by the Englishman William Blake (1757-1827), who occupies a unique position in western literature and the visual arts. He was not just a poet and a writer, but he was also a graphic artist, a painter, an illustrator, a spiritualist, areligious visionary, and a mystic philosopher. For the performance of this work, a professional sound system, including two microphones and a CD player, is needed. The three sound collages are three separate tracks on the enclosed CD and can beplayed easily at the right moment. The Book of Urizen bears resemblance to Genesis and Exodus, of which the contents form the basis of the Christian, Jewish, and Islamic faith. Blake adhered to the principle that all religions are in fact one, and that deities reside in human beings. In The Book of Urizen this is represented in “The Net of Religion, ” which is spanned over the earth by Urizen. The sound collages, compiled by Jacob de Haan in the studio, find their origin inJerusalem, the Holy City, where the afore-mentioned faiths “come together. ” In the first movement of this composition, The Vision, Urizen prepares his vision of the world, and he presents this to the “Eternals. ” His vision is rejected, and Urizen locks himself up in his own abstract world. When he does emerge again, he is confronted with rage by the gathered Eternals. Urizen flees the wrath of the Eternals, “the flames of eternal fury, ” and enwombs himself in his own world. Whenthe Eternals see Urizen in his “stony sleep, ” they wonder if this is death. The blacksmith Los is torn by grief because of the isolation of Urizen. It brings him to rouse his fires, prepare his forge, and to give Urizen’s world concrete form. In the second movement, The Creation, Urizen’s world, but also man, woman, and child are created. Los is horrified with the appearance of Urizen’s body. He mourns and pities Urizen, and from his blood a female form comes into being, with thename Enitharmon. The Eternals, fearful of the female form, decide to erect a tent to obstruct their view to eternity. Enitharmon and Los beget a son, called Orc. Los baptizes him as a child of the “fallen world. ” Orc is fed at Enitharmon’s breast, which makes a girdle of jealousy restrict Los’ chest. He takes the child to the top of the mountain and chains him down. The cries of Orc awaken Urizen, who explores his world creating instruments of scientific measurement to do so. Los encircles theface of Enitharmon from the sight of Urizen and Orc. She then populates the earth by giving birth to an enormous race. The Web, third movement of The Book of Urizen is now available: DHP 1125252 / Niveau : 5 / Pièce de concert / Répertoire / Concert Band ou Harmonie
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Festa Paesana (DE HAAN JACOB)
182.40
Festa Paesana (DE HAAN JACOB)
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Intermédiaire
De Haske Publications
Par DE HAAN JACOB. Lunteren, a village on the Veluwe (a wooded region in the Net...
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Par DE HAAN JACOB. Lunteren, a village on the Veluwe (a wooded region in the Netherlands), sets the scene annually for a village festival dominated by folklore. Festa Paesana (Italian for village festival) is set to music by several folkloric sketches. The theme in Festa Paesana is partly based on a Dutch anthem (Wien Neerlands bloed); when other lyrics are used it is also known as the Lunteren anthem. The work begins with a festive introduction, completed by chimes and drums, in which pieces of the Lunteren anthem are heard. The music then transitions to represent a horse auction. We hear horses run their first rounds in the auction ring while being whipped. The following theme is partly basedon the anthem. The tension of the traditional auction is amplified by an ever-increasing cadence, reaching its climax when the word ?Sold!? is shouted. The night ends with a majestic variation on the Lunteren anthem. The next morning, when the tower clock hits seven times, the village is awaked by the reveille of the heralds. In a fugatic version of the anthem, we can hear the village slowly come to life. This evolves with the chiming of all towers in the village; the celebration can begin. Carriages drawn by horses rumble through the village and thus, it is easy to hear when a horse hesitates or runs amuck. A traditional folk dance group then dances a whirling waltz while the audience shares their pleasure. Musicians march along the scene and take over the waltz theme in their march. Until deep in the night, the musicians are still heard playing in the streets. Meanwhile, we hear the anthem theme being played in a choral variation (in minor). The first time it is played quietly, as a preparation for Sunday. Then it is played in a celebrating way, enabling the devout village residents to remember the past pleasant celebration with satisfaction. / Niveau : 3 / Pièce de concert / Répertoire / Concert Band ou Harmonie
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Free Arrangements and Technical Exercises (SPARKE PHILIP)
180.43
Free Arrangements and Technical Exercises (SPARKE PHILIP)
Euphonium et Orchestre d'Harmonie
[Conducteur et Parties séparées]
Anglo Music
for Euphonium and Concert Band. Par SPARKE PHILIP. Pulcinella was commissioned b...
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for Euphonium and Concert Band. Par SPARKE PHILIP. Pulcinella was commissioned by the Taiwanese euphonium player Tzu-Hsiang Lin. Lin is a renowned soloist and teacher and a Besson Euphonium Artist. He teaches euphonium at Taipei National University of the Arts, National Taiwan University of Arts, Shih Chien University and National Kaohsiung Normal University. Lin gave the premiere of Pulcinella in both its concert band and brass band versions in January 2021. Pulcinella continues Sparke’s series of euphonium solos named after characters of the Italian commedia dell’arte and opens with a long and expressive minor melody for the soloist over a brooding accompaniment. This is taken up briefly by the full band and is extended by the soloist after a change of key. A cadenza, accompanied by fragments of the main melody leads to a complete change of mood, tempo and tonality, introducing a Vivo section starting with a perky syncopated tune for the soloist. The band then uses elements of this new tune to introduce a change of key, where the soloist introduces a more lyrical second subject over a pulsing accompaniment. The band then takes this up and changes key to reintroduce the original Vivo melody, which leads to a short and acrobatic coda to bring the work to a spectacular close./ Répertoire / Euphonium et Orchestre d'Harmonie
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Belle of the Ball (ANDERSON LEROY)
76.90
Belle of the Ball (ANDERSON LEROY)
Orchestre d'harmonie
[Conducteur et Parties séparées]
Hal Leonard
Par ANDERSON LEROY. Like most of Leroy Anderson\'s efforts, Belle of the Ball is...
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Par ANDERSON LEROY. Like most of Leroy Anderson\'s efforts, Belle of the Ball is light, effervescent, and devoid of conflict or disharmony. Anderson looked upon the piece as a modern-day American revival -- or revitalization -- of the Viennese waltz tradition. Having said that, the main theme sounds rather unlike a Strauss waltz, but the voice of Tchaikovsky is evident in its playful, fantasy-like character. The melody is rhythmic and comes in short groups of notes, beginning with two notes, then three, then expanding further; the music skates along elegantly. The middle section features a delightful variation on the theme, in which Anderson\'s gentle-belled sonorities impart a playful innocence. This exclusive Southern band edition by Mark Rogers reintroduces Anderson\'s enchanting work to new generations of audiences. / Date parution : 2022-09-20/ Répertoire / Concert Band
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Jay Dawson: Invincible - Part 1: Marching Band: Score & Parts
99.99
Jay Dawson: Invincible - Part 1: Marching Band: Score & Parts
Fanfare
[Conducteur et Parties séparées]
Arrangers' Publishing Company
Tension mounts as a seething melody churns its way through the winds then front...
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Tension mounts as a seething melody churns its way through the winds then front ensemble then full bandpower statement. The challenge is accepted!
99.99 GBP - vendu par Musicroom GB
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Kuruc Scenes (BALAZS ARPAD)
21.05
Kuruc Scenes (BALAZS ARPAD)
Concert Band et Saxophone Soprano
[Conducteur]
EMB (Edition Musica Budapest)
Par BALAZS ARPAD. Árpád Balázs (*1937) composed the first version of the work...
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Par BALAZS ARPAD. Árpád Balázs (*1937) composed the first version of the work between 1994 and 1996 for tárogató and concert band. Since this traditional Hungarian instrument is rarely found in ensembles abroad, a soprano saxophone can serve as an alternative solo instrument. The composer uses melodies from the early 18th century, from the age of Rákóczi's war of independence. An ambitious framework is given to the work by the reminiscing, solemnly flowing brass chorus, which is built of the motives of the folk song Oh, Rákóczi, Bercsényi (Hej, Rákóczi, Bercsényi). As a contrast serves then Panna Czinka's ancient ''violin lament''. Following this, in a pierced-work-like fashion, the folk song The dew of green forest (Zöld erdo harmatát) comes in, then, as the culmination of the work, the well-known, wild Kuruc dance of Csínom Palkó appears. In conclusion, Kuruc Pictures is a tastefully constructed, finely harmonised and orchestrated orchestral tableau. / Date parution : 2023-06-01/ Répertoire / Concert Band et Saxophone Soprano
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Benny Andersson Björn Ulvaeus: The Winner Takes It All (from Mamma Mia!):
54.99
Benny Andersson Björn Ulvaeus: The Winner Takes It All (from Mamma Mia!):
Fanfare
Hal Leonard
Starting slowly and softly then gradually building intensity throughout this a...
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Starting slowly and softly then gradually building intensity throughout this arrangement provides a satisfying and powerful closing to your Mamma Mia! field presentation. Carefully constructed for maximum effect.
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Gimme Some Lovin': Marching Band: Score & Parts
69.99
Gimme Some Lovin': Marching Band: Score & Parts
Fanfare
[Conducteur et Parties séparées]
Arrangers' Publishing Company
This riff written by a young Steve Winwood keeps on givin'. Steve Winwood was a ...
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This riff written by a young Steve Winwood keeps on givin'. Steve Winwood was a mere eighteen years old when he wrote this super hit for the The Spencer David Group in 1966. Since then covered by many artists. Tom's chart ROCKS!
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Justin Hayward: Nights in White Satin: Marching Band: Score & Parts
59.99
Justin Hayward: Nights in White Satin: Marching Band: Score & Parts
Fanfare
[Conducteur et Parties séparées]
Hal Leonard
The Moody Blues put themselves on the map with this classic rock ballad. Beautif...
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The Moody Blues put themselves on the map with this classic rock ballad. Beautifully written here to feature a trumpet solo at the start followed by a dramatic building segment. The woodwinds have a brief feature section then the piece builds to a strong close.
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3 Letzte Motetten
181.34
3 Letzte Motetten
Concert Band/Harmonie
[Conducteur et Parties séparées]
Oktavian Music
Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ans...
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Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie
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Chorale Paraphrase (BACH JOHANN SEBASTIAN)
98.59
Chorale Paraphrase (BACH JOHANN SEBASTIAN)
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Facile
Curnow Music
Arr. Elliot Del Borgo. Par BACH JOHANN SEBASTIAN. Based on JS Bach’s chorale ...
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Arr. Elliot Del Borgo. Par BACH JOHANN SEBASTIAN. Based on JS Bach’s chorale ‘Sleepers Awake’ this very dignified work presents the chorale and then in turn an exciting treatment of reworked fragments of the melody in a colourful and contemporary harmonic setting. / Niveau : 2.5 / Pièce de concert / Répertoire / Concert Band
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James Newton Howard: King Kong Opener: Marching Band: Score & Parts
59.99
James Newton Howard: King Kong Opener: Marching Band: Score & Parts
Fanfare
[Conducteur et Parties séparées]
Hal Leonard
Imposing and ominous you can feel the foreboding tension as the giant beast app...
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Imposing and ominous you can feel the foreboding tension as the giant beast approaches and then experience the power as he arrives on the scene. Massive percussion scoring and dense brass clusters help create a stunning effect.
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Jonathan Cain Steve Perry: Open Arms: Marching Band: Score & Parts
59.99
Jonathan Cain Steve Perry: Open Arms: Marching Band: Score & Parts
Fanfare
[Conducteur et Parties séparées]
Cherry Lane
A power ballad for the ages this Journey classic from 1982 remains as popular t...
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A power ballad for the ages this Journey classic from 1982 remains as popular today as ever. Jay's stirring arrangement for the field or stands opens quietly with a trumpet solo then builds to a huge full band chorus statement before closing out with a quiet ending.
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5 Tantum Ergo (BRUCKNER ANTON / DOSS THOMAS (Arr)
141.31
5 Tantum Ergo (BRUCKNER ANTON / DOSS THOMAS (Arr)
Orchestre d'harmonie
Oktavian Music
Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruck...
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Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Hymns for four-part mixed choir a cappella (1846, St. Florian) No. 1 in E flat major (WAB 41/3): Quite Slow No. 2 in C major (WAB 41/4): Andante No. 3 in B flat major (WAB 41/1): Slow No. 4 in A flat major (WAB 41/2): Slow Hymn for five-part (2 S, A, T, B) mixed choir and organ No. 5 in D major: Solemnly They are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie
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Wilten Festival Overture (SPARKE PHILIP)
207.04
Wilten Festival Overture (SPARKE PHILIP)
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Intermédiaire/avancé
Anglo Music
Par SPARKE PHILIP. To celebrate the 350th anniversary of the Stadtmusikkapelle W...
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Par SPARKE PHILIP. To celebrate the 350th anniversary of the Stadtmusikkapelle Wilten in Innsbruck Philip Sparke composed Wilten Festival Overture. A bold fanfare, led by the horns, forms the opening of the work from which an expressive theme unfolds until the full band reaches a climax. Short solo statements from saxophone, horn and trumpet lead to a recapitulation of this theme which melts into a rhythmic Vivo. A robust melody is is then played by the clarinets and taken up by the whole band before a legato figure leads to a cantabile theme, again presented by the clarinets. The original Vivo melody reappears before the opening fanfare is briefly heard and the work comes to an end with ashort Coda. A great experience for the whole band! / Niveau : 5 / Pièce de concert / Répertoire / Concert Band ou Harmonie
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Basil Poledouris: Hymn to Red October: Marching Band: Score & Parts
54.99
Basil Poledouris: Hymn to Red October: Marching Band: Score & Parts
Fanfare
[Conducteur et Parties séparées]
Hal Leonard
From the classic movie The Hunt For Red October comes this haunting Russian them...
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From the classic movie The Hunt For Red October comes this haunting Russian theme by Basil Poledouris. This marvelous setting for younger bands starts softly in a hymn-like setting then moves to a stately march which builds inintensity all the way to the finish. This stirring arrangement is beautifully scored.
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John Williams: The Rebellion Is Reborn: Marching Band: Score & Parts
74.99
John Williams: The Rebellion Is Reborn: Marching Band: Score & Parts
Fanfare
[Conducteur et Parties séparées]
-
Intermédiaire/avancé
Hal Leonard
from Star Wars: The Last Jedi-Featuring new themes from John Williams' brilliant...
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from Star Wars: The Last Jedi-Featuring new themes from John Williams' brilliant soundtrack this arrangement opens with the decisive Rebellion motif then weaves in the sweeping motif for Rose stated in the horns and saxes. Both themes are combined as the music builds to a dramatic finish.
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Gelobet Seist Du, Jesu Christ
113.38
Gelobet Seist Du, Jesu Christ
Fanfare
[Conducteur et Parties séparées]
-
Intermédiaire
De Haske Publications
Praise to Thee, Jesus Christ. Gelobet seist du Jesu Christ (We Praise You Jesus ...
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Praise to Thee, Jesus Christ. Gelobet seist du Jesu Christ (We Praise You Jesus Christ) is an old Christmas hymn dating from the 16th century, which can still be found in many hymnbooks today. John Blanken has created a varied and imaginative arrangement on four verses of the hymn. After the introduction, derived from the opening notes, the hymn is first accompanied by an agile harmonisation. Next, we hear the chorale in a four-part setting with a percussion accompaniment. Then follows a short prologue to the third verse and finally its time for fireworks as the arrangement takes a stylistic leap in time with the festive prelude to the fourth and last verse. / Niveau : 3 / Hymnes et chorals / Recueil / Fanfare
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Mambo Magic (HOSAY JAMES L)
88.73
Mambo Magic (HOSAY JAMES L)
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Facile
Curnow Music
Par HOSAY JAMES L.. This light hearted fun arrangement starts out in a mellow, j...
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Par HOSAY JAMES L.. This light hearted fun arrangement starts out in a mellow, jazzy mambo - rock ballad and then goes into a sizzling hot, driving mambo that will give your audience, and maybe even your band, dancing in their seats. / Niveau : 2.5 / Répertoire / Concert Band ou Harmonie
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Circus Bamboni (BLANKEN JOHN)
88.73
Circus Bamboni (BLANKEN JOHN)
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Débutant
De Haske Publications
Par BLANKEN JOHN. COME ONE AND ALL! Come see the great Circus Bamboni! This four...
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Par BLANKEN JOHN. COME ONE AND ALL! Come see the great Circus Bamboni! This four movement work, with flexible four part instrumentation (+ Drum Kit), will amaze and charm you like no other. The first movement features the band as it tunes up and prepares for the show. Then the talented trapeze artists make an appearance as they fly through the sky high above the audience. The elephants parade around the ring with their very own Elephant Samba and the clowns follow leaving you in stitches! A thunderous chord and lots of applause bring the show to a breathtaking finale. / Niveau : 1.5 / Musique légère originale / Répertoire / Concert Band ou Harmonie ou Fanfare
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Symphonic Variations (DE HAAN JACOB)
197.19
Symphonic Variations (DE HAAN JACOB)
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Intermédiaire/avancé
De Haske Publications
Par DE HAAN JACOB. This composition is based on a passacaglia theme, in which ar...
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Par DE HAAN JACOB. This composition is based on a passacaglia theme, in which artistic perfection, symphonic drama and oriental melody lines play a role. The passacaglia is originally a dance made up of a series of variations above a bass line constantly present as an ostinato. It is not in this sense that the 'Symphonic Variations' are in the passacaglia form but in the sense of the open form of the variations. Jacob de Haan, himself originally an organist, took his inspiration for this piece from the famous passacaglia for organ in C-minor by J. S. Bach. Following the introduction of the passacaglia theme (in the bass) the entry by the trumpets and trombones forms the majestic start to amusical adventure, in which this theme (often fragmentary) returns in variations. Then there follow two faster movements with dramatic contrasts and virtuose passages. Particularly striking here is the use of two characteristic intervals from the beginning of the theme namely the minor second and the augmented fourth. An apause in the composition comes in the slow bridge where a syncopated bourdon (perfect fifth) is constantly repeated. The tension grows in dynamics and harmony, and the oriental-flavour becomes obvious in the melody. We arrive at a faster movement via an accelerando, in which a perpetuum mobile based on the passacaglia theme is central. Finally the whole flows into a martial theme, in which the ostinato accompaniment n the descant derives from the passacaglia theme. / Niveau : 5 / Pièce de concert / Répertoire / Concert Band
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Out Of The Darkness, Into The Light (SPARKE PHILIP)
187.33
Out Of The Darkness, Into The Light (SPARKE PHILIP)
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Intermédiaire/avancé
Anglo Music
Par SPARKE PHILIP. Out of the Darkness, Into the Light is about optimism. All of...
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Par SPARKE PHILIP. Out of the Darkness, Into the Light is about optimism. All of us experience disappointments in our lives, such failed relationships or the loss of loved ones, but the indomitability of the human spirit allows us to overcome such set backs and get through the darker moments. For some, faith and religion may be the answer, but this piece is more about the internal strength that we can all call upon. Opening in sombre mood, the first phase of the work symbolises the doubts we all have about ourselves and our lives. The opening phrase on solo clarinet appears throughout the piece and could be seen as the central idea of the work, the human spirit itself. The faster, centralsection is about the struggle to overcome the pain we experience and at bar 88 the moment of catharsis occurs. This signals a change of mood and from then on, the clarinet motif is transformed into a feeling of joy and optimism. We have entered the light. / Niveau : 5 / Pièce de concert / Répertoire / Concert Band ou Harmonie
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The Universal Band Collection (DE HAAN JACOB)
147.89
The Universal Band Collection (DE HAAN JACOB)
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Facile
De Haske Publications
Par DE HAAN JACOB. A collection of 5 short works in pop style which can be perfo...
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Par DE HAAN JACOB. A collection of 5 short works in pop style which can be performed by any kind of compilation. The titles can be presented on the programme as separate works but the Universal Band Collection can also be performed as a complete suite. From a didactic point of view it is a suitable work to teach musicians something about the structure in music. For this purpose not only the big structure but also the small structure was kept very clear. Western Girl : A girl from the west of the USA rides her horse across the prairie, dreaming of her future. The rough structure: introduction - theme in a blues scale - the same thing in a different instrumentation - finale. Just a ballad : A balladin pop style with a rough A-B-A form. First there is the introduction of the main theme (A), then follows a tenor melody in minor with a rhythmical reference to the main theme (B). Finally there is the main melody, performed tutti with a different rhythm in the drums (A'). Play the Game : An English saying meaning: play fairly. Playful music in up-tempo with a wink to China, where almost all games are manufactured nowadays. Once again an A-B-A structure here. San Diego : A Mexican fugitive enjoys his freedom in America but also remembers his place of birth with melancholy. A sad minor melody with a straight trendy beat appears twice. The second time it has a slightly different instrumentation, in which the muted trumpets represent the Mexican feeling. Final Dance : Eventually there is a dance with an introduction in renaissance style, followed by a fast dance in rock style. All this composed in a classical song structure: introduction, verse, bridge, chorus, shortened verse, bridge, chorus, chorus. / Niveau : 2 / Musique légère originale / Répertoire / Concert Band
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Lion Pride (BERNOTAS CHRIS)
84.36
Lion Pride (BERNOTAS CHRIS)
Orchestre d'harmonie
[Conducteur et Parties séparées]
Alfred Publishing
Par BERNOTAS CHRIS. Lion Pride is an imaginative overture by Chris M. Bernotas a...
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Par BERNOTAS CHRIS. Lion Pride is an imaginative overture by Chris M. Bernotas and is full of majesty and pride. Beginning with a strong and dramatic statement that gives way to a bright melody, the pride of the lion shines through. A stately section represents the power of the mighty lion before returning with the spirited and exciting theme, then coming to a rhythmic and energetic conclusion. (3:32) This title is available in SmartMusic. / Date parution : 2022-10-12/ Répertoire / Concert Band
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Credentium (VAN DER ROOST JAN)
261.27
Credentium (VAN DER ROOST JAN)
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Intermédiaire/avancé
De Haske Publications
Par VAN DER ROOST JAN. A spectacular dive via an extended chromatic scale immedi...
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Par VAN DER ROOST JAN. 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. / Niveau : 6 / Pièce de concert / Répertoire / Concert Band ou Harmonie
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Jamie Scott: Drag Me Down: Marching Band: Score & Parts
57.50
Jamie Scott: Drag Me Down: Marching Band: Score & Parts
Fanfare
[Conducteur et Parties séparées]
Hal Leonard
Current pop band One Direction continues to create tuneful and energetic hits. T...
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Current pop band One Direction continues to create tuneful and energetic hits. The half-time feel in the middle then gradual build to the end help make this particularly unique and striking.
57.50 GBP - vendu par Musicroom GB
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Chorale Paraphrase (BACH JOHANN SEBASTIAN)
98.59
Chorale Paraphrase (BACH JOHANN SEBASTIAN)
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Facile
Curnow Music
Arr. Elliot Del Borgo. Par BACH JOHANN SEBASTIAN. Based on JS Bach’s chorale ...
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Arr. Elliot Del Borgo. Par BACH JOHANN SEBASTIAN. Based on JS Bach’s chorale ‘Sleepers Awake’ this very dignified work presents the chorale and then in turn an exciting treatment of reworked fragments of the melody in a colourful and contemporary harmonic setting. / Niveau : 2.5 / Pièce de concert / Répertoire / Concert Band ou Harmonie
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Tone Builders For Developing Bands (CURNOW JAMES)
147.89
Tone Builders For Developing Bands (CURNOW JAMES)
Orchestre d'harmonie
[Conducteur et Parties séparées]
Curnow Music
Par CURNOW JAMES. Exceptionally useful! This collection of 24 etudes is specific...
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Par CURNOW JAMES. Exceptionally useful! This collection of 24 etudes is specifically designed to help develop good individual and ensemble tone production and intonation. Citing tone production as one of the most important facets of good playing, Jim Curnow starts beginning players with material they have learned in their beginning method books, and then moves on to new and more advanced concepts. A great aid for your program! / Niveau : 1-2 / Répertoire / Concert Band ou Harmonie
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Themes From Jurassic Park/The Lost World
70.98
Themes From Jurassic Park/The Lost World
Fanfare
[Conducteur et Parties séparées]
Hal Leonard
Featuring music from the first two Jurassic Park blockbuster films, this closing...
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Featuring music from the first two Jurassic Park blockbuster films, this closing production number starts slowly with the majestic Lost World theme, then builds into the heroic music from the first movie. / Marching Band
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