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Choeur Mixte SATB a Cappella (1)
Euphonium, Piano (duo) (1)
2 Trombones (duo) (1)
Autres cordes pincées (1)
Guitare Flatpicking et Fingerpicking (1)
Violon 1 (1)
2 Saxophones (duo) (1)
Cloches, Glockenspiel ou Carillon (1)
Mezzo-Soprano et Orchestre (1)
Violon II (1)
Concertina (1)
Enregistrement (1)
Instruments A Vent (1)
Flûte traversière, Basse continue (1)
Quatuor de Saxophones: 4 saxophones (1)
1 A 4 Flûte(s) A Bec Alto Ou Autres Instruments M… (1)
Timbales et Orchestre (1)
Saxhorn ou Euphonium (1)
Solistes Et Choeur Mixte (1)
Ensemble de Flûtes (1)
DVD concert (1)
Banjo Tenor (1)
Soprano, Piano (1)
Accompagnement Piano (1)
Chant et Guitare (1)
Ensemble de Ukulélés (1)
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14 Motetten (BRUCKNER ANTON / DOSS THOMAS (Arr)
376.82
14 Motetten (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. 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 : 2023-08-12/ Répertoire / Concert Band/Harmonie
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Bruce Fraser: Durkle Bandrydge Suite: Concert Band: Score
14.99
Bruce Fraser: Durkle Bandrydge Suite: Concert Band: Score
Orchestre d'harmonie
Gobelin Music Publications
Durkle Bandrydge is the name of the composers imaginary world but it could very...
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Durkle Bandrydge is the name of the composers imaginary world but it could very well be anyones invisible dream world with a different name. In this very versatile suite by Bruce Fraser 8 characters are featured each with its ownpeculiarities making Durkle Bandrydge such a colourful place. Do these characters differ that much from us? That is for you to find out! In the last part all characters come together in a special way.Durkle Bandrydge exists at the end ofyour street. It is invisible to humans but Durkle Bandrygators can watch us with great interest. The music will introduce you to some of the characters who live in this unusual place. The parts: Somnanbulyss who is a giant trollguarding the entrance to Durkle Bandryde. At least he is supposed to but he tends to sleep most of the time. His music is therefore very slow moving and sleepy. Long Gwysteen is a tall mysterious and somehow sophisticated character who walls around with a shell on his back. His music glides along rather gracefully. Squelfitch is a rather unpleasant and smelly character who lives in a bog which is why his music sounds rather slimy and a bit like trying to walkthrough quicksand. Perfydlia is a meddling old woman who gossips about everybody and squeals with sudden delight at the small exciting bits of tittletattle about others in the village. In the music you can hear her sudden little squealsof delight. Maryann Lovely is a beautiful young lady graceful gorgeous absolutely devine and her music is obviously just the same. Thistledoo Nicely is a lively character who spends and spends and spends with her credit card buying the latest fashion and never worries about having to pay the bills. Her music reflects her excitement when shopping and het ‘happy go lucky’ approach to life. Marsyn Edginton is the Lord of the manor the richest man in town the‘big cheese’ the man with all the power and of course the biggest house. He is very grand and his music like he could be a king. Jimmy McScotsmyn is a red haired scotsman wearing tartan cap. He misses his home country terribly and eatslots of shortbread oatcakes scotch eggs porridge and drinks an enormous amount of Scotch Wisky which helps him to have fond memories of the kind of music he would like to dance to when he was a younger man. His favourite dance is a Jig andthis is the music he remembers. Grand March of the Durkle Bandrydgators. We hope that you have enjoyed meeting these characters from Drukle Bandrydge and would invite you to listen to all the villagers now march along in a grand parade -it is a pity that you can not see them what is a wonderful sight. If you listen carefully you will hear the melodies which belong to the characters as they march past. Oh what a grand spectacle!
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Bruce Fraser: Durkle Bandrydge Suite: Concert Band: Score & Parts
73.99
Bruce Fraser: Durkle Bandrydge Suite: Concert Band: Score & Parts
Orchestre d'harmonie
[Conducteur et Parties séparées]
Gobelin Music Publications
Durkle Bandrydge is the name of the composers imaginary world but it could very...
(+)
Durkle Bandrydge is the name of the composers imaginary world but it could very well be anyones invisible dream world with a different name. In this very versatile suite by Bruce Fraser 8 characters are featured each with its ownpeculiarities making Durkle Bandrydge such a colourful place. Do these characters differ that much from us? That is for you to find out! In the last part all characters come together in a special way.Durkle Bandrydge exists at the end ofyour street. It is invisible to humans but Durkle Bandrygators can watch us with great interest. The music will introduce you to some of the characters who live in this unusual place. The parts: Somnanbulyss who is a giant trollguarding the entrance to Durkle Bandryde. At least he is supposed to but he tends to sleep most of the time. His music is therefore very slow moving and sleepy. Long Gwysteen is a tall mysterious and somehow sophisticated character who walls around with a shell on his back. His music glides along rather gracefully. Squelfitch is a rather unpleasant and smelly character who lives in a bog which is why his music sounds rather slimy and a bit like trying to walkthrough quicksand. Perfydlia is a meddling old woman who gossips about everybody and squeals with sudden delight at the small exciting bits of tittletattle about others in the village. In the music you can hear her sudden little squealsof delight. Maryann Lovely is a beautiful young lady graceful gorgeous absolutely devine and her music is obviously just the same. Thistledoo Nicely is a lively character who spends and spends and spends with her credit card buying the latest fashion and never worries about having to pay the bills. Her music reflects her excitement when shopping and het ‘happy go lucky’ approach to life. Marsyn Edginton is the Lord of the manor the richest man in town the‘big cheese’ the man with all the power and of course the biggest house. He is very grand and his music like he could be a king. Jimmy McScotsmyn is a red haired scotsman wearing tartan cap. He misses his home country terribly and eatslots of shortbread oatcakes scotch eggs porridge and drinks an enormous amount of Scotch Wisky which helps him to have fond memories of the kind of music he would like to dance to when he was a younger man. His favourite dance is a Jig andthis is the music he remembers. Grand March of the Durkle Bandrydgators. We hope that you have enjoyed meeting these characters from Drukle Bandrydge and would invite you to listen to all the villagers now march along in a grand parade -it is a pity that you can not see them what is a wonderful sight. If you listen carefully you will hear the melodies which belong to the characters as they march past. Oh what a grand spectacle!
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Jodie Blackshaw: Letter from Sado - Score Only: Concert Band: Score
10.99
Jodie Blackshaw: Letter from Sado - Score Only: Concert Band: Score
Orchestre d'harmonie
BandQuest
Letter from Sado is an exciting new piece for young band based on a Japanese hai...
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Letter from Sado is an exciting new piece for young band based on a Japanese haiku of the same name. Sado refers to Sado Island in Japan in which various artists religious and military leaders were sent in exile many years ago. The island has historically had a strong community of taiko drummers and as such the piece incorporates optional homemade taiko drums. Blackshaw writes: To capture the idea of interpretation and the concept of reading between the lines the students are invited to become decision makers about particular sections in the music. For example the opening and closing sections of the piece use the same material which is a selection of repeated melodic figures.The students themselves decide how to play these figures as individuals in small teams and then as a whole band. Their decisions include ideas regarding tempo (how fast') dynamics (how loud') and articulation (smooth short or hard'). To inspire them we use the haiku poem; i.e. the opening section invites the students to play the material as if it were a 'stormy wild sea' and the closing section invites the students to play the same melodic figures but this time draw their inspiration from 'Heaven's River ' or as we know it the Milky Way. In-between there is an elaborate heavily textured section that becomes increasingly powerful. The music doesn't rest harmonically until the whole band plays in unison. These multiple layers of sound represent the many thoughts and ideas that would have surrounded those individuals sent to Sado Island in exile the final unison is representative of their own breakthrough experience sending them on a pathway to inner peace and acceptance. Embrace your players' creativity offer them your trust and see how far Letter from Sado can take your band!
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Jodie Blackshaw: Letter from Sado: Concert Band: Score & Parts
57.50
Jodie Blackshaw: Letter from Sado: Concert Band: Score & Parts
Orchestre d'harmonie
[Conducteur et Parties séparées]
American Composers Forum
Letter from Sado is an exciting new piece for young band based on a Japanese hai...
(+)
Letter from Sado is an exciting new piece for young band based on a Japanese haiku of the same name. Sado refers to Sado Island in Japan in which various artists religious and military leaders were sent in exile many years ago. The island hashistorically had a strong community of taiko drummers and as such the piece incorporates optional homemade taiko drums. Blackshaw writes: ?To capture the idea of interpretation and the concept of reading between the lines the students are invitedto become decision makers about particular sections in the music. For example the opening and closing sections of the piece use the same material which is a selection of repeated melodic figures. The students themselves decide how to play thesefigures as individuals in small teams and then as a whole band. Their decisions include ideas regarding tempo (how fast?) dynamics (how loud?) and articulation (smooth short or hard?). To inspire them we use the haiku poem; i.e. the openingsection invites the students to play the material as if it were a stormy wild sea and the closing section invites the students to play the same melodic figures but this time draw their inspiration from Heavens River or as we know it the MilkyWay. In-between there is an elaborate heavily textured section that becomes increasingly powerful. The music doesnt rest harmonically until the whole band plays in unison. These multiple layers of sound represent the many thoughts and ideas thatwould have surrounded those individuals sent to Sado Island in exile the final unison is representative of their own breakthrough experience sending them on a pathway to inner peace and acceptance.? Embrace your players creativity offer them yourtrust and see how far Letter from Sado can take your band!
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Pacific Dreams (DE HAAN JACOB)
177.46
Pacific Dreams (DE HAAN JACOB)
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Intermédiaire
De Haske Publications
Par DE HAAN JACOB. Pacific Dreams describes the experience of Miguel, a travelin...
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Par DE HAAN JACOB. Pacific Dreams describes the experience of Miguel, a traveling composer from Spain who, feeling somewhat alienated from his homeland, is wandering through an area of Sydney known as The Rocks. At a small outdoor market in a typical street of this oldcolonial neighbourhood, he discovers a print of William DeShazos painting 'Pacific Dreams' Portrayed in the painting is the surf of one of the exotic islands in the Pacific. Next, with the impressive Sydney Harbour Bridge looming over the narrowstreets of The Rocks, he envisions sultry Pacific beaches. Suddenly a theme he once composed about the lakes in Japan comes to him. Is it the Asian influences present in cosmopolitan Sydney that bring this theme to mind? Or perhaps the waters aroundSydney, over which he could sail to Tahiti? He is uncertain. Could this same theme be used to create a new composition about his feelings for the metropolis Sydney? How then to work his Pacific Dreams into the mix? Miguel is certainly no fan ofHawaiian music. Mayby he could use the vocabularies of islands like Hawaii and Tahiti, their beautiful vowel combinations being sung ad libitum by a mixed choir. With these ideas and his newly purchased print of 'Pacific Dreams', he boards the Metroat Circular Quay. He has a final glimpse of the harbour and the Sydney Opera House as the train races into the ground. On to the hotel! To work! He must compose!Maestoso : Miguel is impressed as he gazes upon the Sydney Harbour Bridge. And yet, hewants to go away from this city. Away, to an exotic island in the Pacific. Steady Rock : In the Rocks, musicians are playing at a square. Miguel basks in the atmosphere but at the same time he is fantasizing about Hawaii and Tahiti. Andante Lamentoso :In his hotel room, Miguel is feeling sad and lonely in this big city. He takes comfort in his 'Pacific Dreams'. Allegro : Miguel boards the boat that takes him from Darling Harbour to Circular Quay. In his mind he is traveling on to Hawaii. Or is ithome, where the bolero is playing? He is pulled back to reality by the skyline of Sydney. / Niveau : 3 / Répertoire / Concert Band ou Harmonie
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Symphony Nr. 3 Urban Landscapes Op. 55 (CESARINI FRANCO)
29.43
Symphony Nr. 3 Urban Landscapes Op. 55 (CESARINI FRANCO)
Orchestre d'harmonie
Edition Franco Cesarini
for Wind Orchestra, Studyscore. Par CESARINI FRANCO. Fascinated by the beauty of...
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for Wind Orchestra, Studyscore. Par CESARINI FRANCO. Fascinated by the beauty of Chicago, Franco Cesarini has translated his emotions into music: this is how Symphony No. 3 ?Urban Landscapes? Op. 55, was born, a musical portrait of this metropolis overlooking Lake Michigan. The composition is divided into three movements: The Wrigley Building from Dawn to Noon, Blue Silhouette and Cloud Gates, which by sharing the same thematic material arranged in cyclical form, strengthen the overall cohesion of the piece. The first movement, preceded by a short slow introduction in which the main theme is presented in an almost dreamlike form, metaphorically represents the city at dawn. The sudden change of time symbolizes the start of activities with all its noises and sounds: you can hear the bell that announces the closing of the subway doors, the sound of cars speeding by, the siren of a patrol car. If the first movement represents the day, the second introduces a nocturnal environment: a melancholic melody played by the English horn anticipates a more animated tempo depicting melodies coming from jazz clubs. Powerful fanfares that take up the second theme of the first movement introduce the third movement. In this finale, the role of the two themes is reversed compared to the first movement and one takes the place of the other in a kind of games of mirrors. Symphony No. 3 ?Urban Landscapes? Op. 55: a sumptuous musical portrait of the ?Windy City?./ Répertoire / Concert Band/Harmonie
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Symphony Nr. 3 Urban Landscapes Op. 55 (CESARINI FRANCO)
105.96
Symphony Nr. 3 Urban Landscapes Op. 55 (CESARINI FRANCO)
Orchestre d'harmonie
[Conducteur]
Edition Franco Cesarini
for Wind Orchestra, Full Score. Par CESARINI FRANCO. Fascinated by the beauty of...
(+)
for Wind Orchestra, Full Score. Par CESARINI FRANCO. Fascinated by the beauty of Chicago, Franco Cesarini has translated his emotions into music: this is how Symphony No. 3 “Urban Landscapes” Op. 55, was born, a musical portrait of this metropolis overlooking Lake Michigan. The composition is divided into three movements: The Wrigley Building from Dawn to Noon, Blue Silhouette and Cloud Gates, which by sharing the same thematic material arranged in cyclical form, strengthen the overall cohesion of the piece. The first movement, preceded by a short slow introduction in which the main theme is presented in an almost dreamlike form, metaphorically represents the city at dawn. The sudden change of time symbolizes the start of activities with all its noises and sounds: you can hear the bell that announces the closing of the subway doors, the sound of cars speeding by, the siren of a patrol car. If the first movement represents the day, the second introduces a nocturnal environment: a melancholic melody played by the English horn anticipates a more animated tempo depicting melodies coming from jazz clubs. Powerful fanfares that take up the second theme of the first movement introduce the third movement. In this finale, the role of the two themes is reversed compared to the first movement and one takes the place of the other in a kind of games of mirrors. Symphony No. 3 “Urban Landscapes” Op. 55: a sumptuous musical portrait of the “Windy City”./ Répertoire / Concert Band/Harmonie
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Symphony Nr. 3 Urban Landscapes Op. 55 (CESARINI FRANCO)
38.85
Symphony Nr. 3 Urban Landscapes Op. 55 (CESARINI FRANCO)
Orchestre d'harmonie
[Set de Parties séparées]
Edition Franco Cesarini
for Wind Orchestra, Additional European Parts. Par CESARINI FRANCO. Fascinated b...
(+)
for Wind Orchestra, Additional European Parts. Par CESARINI FRANCO. Fascinated by the beauty of Chicago, Franco Cesarini has translated his emotions into music: this is how Symphony No. 3 “Urban Landscapes” Op. 55, was born, a musical portrait of this metropolis overlooking Lake Michigan. The composition is divided into three movements: The Wrigley Building from Dawn to Noon, Blue Silhouette and Cloud Gates, which by sharing the same thematic material arranged in cyclical form, strengthen the overall cohesion of the piece. The first movement, preceded by a short slow introduction in which the main theme is presented in an almost dreamlike form, metaphorically represents the city at dawn. The sudden change of time symbolizes the start of activities with all its noises and sounds: you can hear the bell that announces the closing of the subway doors, the sound of cars speeding by, the siren of a patrol car. If the first movement represents the day, the second introduces a nocturnal environment: a melancholic melody played by the English horn anticipates a more animated tempo depicting melodies coming from jazz clubs. Powerful fanfares that take up the second theme of the first movement introduce the third movement. In this finale, the role of the two themes is reversed compared to the first movement and one takes the place of the other in a kind of games of mirrors. Symphony No. 3 “Urban Landscapes” Op. 55: a sumptuous musical portrait of the “Windy City”./ Répertoire / Concert Band/Harmonie
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Symphony Nr. 3 Urban Landscapes Op. 55 (CESARINI FRANCO)
588.77
Symphony Nr. 3 Urban Landscapes Op. 55 (CESARINI FRANCO)
Orchestre d'harmonie
[Conducteur et Parties séparées]
Edition Franco Cesarini
for Wind Orchestra, World Set (no ESS). Par CESARINI FRANCO. Fascinated by the b...
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for Wind Orchestra, World Set (no ESS). Par CESARINI FRANCO. Fascinated by the beauty of Chicago, Franco Cesarini has translated his emotions into music: this is how Symphony No. 3 “Urban Landscapes” Op. 55, was born, a musical portrait of this metropolis overlooking Lake Michigan. The composition is divided into three movements: The Wrigley Building from Dawn to Noon, Blue Silhouette and Cloud Gates, which by sharing the same thematic material arranged in cyclical form, strengthen the overall cohesion of the piece. The first movement, preceded by a short slow introduction in which the main theme is presented in an almost dreamlike form, metaphorically represents the city at dawn. The sudden change of time symbolizes the start of activities with all its noises and sounds: you can hear the bell that announces the closing of the subway doors, the sound of cars speeding by, the siren of a patrol car. If the first movement represents the day, the second introduces a nocturnal environment: a melancholic melody played by the English horn anticipates a more animated tempo depicting melodies coming from jazz clubs. Powerful fanfares that take up the second theme of the first movement introduce the third movement. In this finale, the role of the two themes is reversed compared to the first movement and one takes the place of the other in a kind of games of mirrors. Symphony No. 3 “Urban Landscapes” Op. 55: a sumptuous musical portrait of the “Windy City”./ Répertoire / Concert Band
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William Vean: Animal Kingdom: Concert Band: Score & Parts
73.99
William Vean: Animal Kingdom: Concert Band: Score & Parts
Orchestre d'harmonie
[Conducteur et Parties séparées]
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
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William Vean: Animal Kingdom: Concert Band: Score
13.99
William Vean: Animal Kingdom: Concert Band: Score
Orchestre d'harmonie
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
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André Waignein: Dunamis: Concert Band: Score & Parts
194.99
André Waignein: Dunamis: Concert Band: Score & Parts
Orchestre d'harmonie
Scherzando
Major Yvon Ducene wanted a new lush and colourful composition for his Guides mil...
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Major Yvon Ducene wanted a new lush and colourful composition for his Guides military band with André Waignein as its composer. Early in 1979 the composer began his assignement and in October of the same year the finished full score was on the music stands of this prestigious military band of the Belgian Army.The introduction (Grave) mirrors an atmosphere full of serenity in which the theme played by the oboes and the English horn is predominant and immediately holds the listener spell-bound. It is taken up again as central element of the slow movement.The Allegro breaks away from the quiet passion of the introduction. Here the band can really show its capabilities to thefull. Based on a very precise rythm an idiom of sudden desperation and adversity develops which fused with a crushing agression culminates in a kind of eruption soom calmed down by a Lento : peace and quiet has returned thanks to a melody by the horns and soon taken over by the clarinets. In the meantime the saxophone - an instrument full of human emotion - express the main spatial dimension in contemporary psyche. Following a harmonic transition the brass-players take up the theme again in forte whilst the basses and the woodwinds interwine in technical arabesques.The movings of the mind and the heart get an audible and almost touchable shape in the ensuing Allegro a movement characterized by a rhythmic dialogue in which the whole orchestra participates and where the exposition contains a wealth of sound and technical contrasts. The Lento finally uses the central theme of the slow movement again with some occasional references to the two allegros. The last page is of unprecedented grandeur. All the instruments display their most beautiful sound which were named by Jacques Ferschotte when speaking about Honneger 'harmonies d'intensités' harmonies of the unmeasurable.
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Jan Bosveld: Boreas: Concert Band: Score & Parts
100.99
Jan Bosveld: Boreas: Concert Band: Score & Parts
Orchestre d'harmonie
Gobelin Music Publications
In Greek mythology Boreas is the God of the North Wind. When thinking of the n...
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In Greek mythology Boreas is the God of the North Wind. When thinking of the north wind we particularly think of the bleak wind coming from the freezing cold north but in Homers' work we see a more varied picture. As shown in the following two stories Boreas often does play the role of a storm wind that blows forth heavy dark clouds while whipping up the dark waves of the tempestuous sea to mountainous heights. When the stake of the fallen Patroclos refuses to burn Achilles begs for some wind. When Iris the swift messenger of the Gods asks the winds for assistance they raise themselves up with tremendous roaring and rush to Troy. Upon theirarrival they blow the divine fire of Patroclos' stake far up into the sky. When Troy was destroyed the Greeks returned home. After many wanderings Odysseus however ends up with the beautiful nymph Calypso who keeps him as a prisoner. As ordered by Zeus Calypso frees him and sends him off on a handmade wooden raft. At sea Odysseus is threatened by the aggressive sea god Poseidon who stirs up the winds and thrashes the waves with his trident. The goddess Athena stems the violence of all the winds except for the north wind and thus it is Boreas who sends Odysseus to the land of the hospitable Phaiakes. Jan Bosveld composed Boreas for OLTO a music association in Loenen The Netherlands for which he had served as conductor for many years. Turbulent movement in both tempo and dynamics characterize this composition. The result is a whirling piece that races by in a positive manner. Boreas is in de Griekse mythologie de god van de noordenwind. Bij noordenwind denken wij vooral aan de gure wind uit het ijskoude noorden bij Homerus echter zien we een meer gevariëerd beeld. Natuurlijk speelt Boreas zoals uit de twee onderstaande verhalen blijkt meestal de rol van de stormwind die de zware zwarte wolken voor zich uit blaast en de donkere golven van de onstuimige zee torenhoog opzwiept.
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Robert Russell Bennett: Autobiography Part 1: Concert Band: Score
12.99
Robert Russell Bennett: Autobiography Part 1: Concert Band: Score
Orchestre d'harmonie
[Partition]
Schirmer
Score-The suggestion that I write my autobiography was made at a time when anyon...
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Score-The suggestion that I write my autobiography was made at a time when anyone who did not write one risked being called eccentric. It became and still is a major sport among the oldsters. Some of the contemporary books are goodreading indeed. One of the best of them is the result of an enormous research job as is brought out in the introduction to the work. Imagine spending long hours and traveling many miles to find out about oneself: I am sure Iwould be one of the first to be utterly bored by the subject. It was not so easy however to dismiss the whole idea as my friends presented it.The only answer I could think of with any degree of enthusiasm was this one written purely for whatever pleasure it could give. My own part of the pleasure is mostly in utilizing the musical language of the concert band with its apparently inexhaustible colors and its fabulous vitality.The form(if the term has any right being here) is seven short pictures each about two minutes long of my own personal seven ages. The two-minute idea may be the result of the loudspeakers spread all over the hotel in Arizona where thepiece was composed. There was no getting out of ear-shot of those two-minute gems - in the dining rooms around the swimming pools by the putting green everywhere-but I honestly do not believe any of them crept into what I waswriting. I do not believe I paid much more than passing attention to them.Part One:I. 1894: Cherry StreetII. 1899: South OmahaIII. 1900: Corn Cows and MusicThe three of my seven ages inPart One took us to the legal end of my youth. Gathering up my unspectacular belongings including my entire fortune of less than two hundred dollars I swooped down on New York for no more reason than that it was New York and hada street in it called Broadway. The music borrows two or three rhythms from the era but the only note-for-note quote is what the bugler at Camp Funston played every morning while we put on our shoes. Later when we get to Paris
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December Joy (WAGNER DOUGLAS)
102.12
December Joy (WAGNER DOUGLAS)
Orchestre d'harmonie
[Conducteur et Parties séparées]
Alfred Publishing
Par WAGNER DOUGLAS. Arranged by Douglas E. Wagner, three well-known secular caro...
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Par WAGNER DOUGLAS. Arranged by Douglas E. Wagner, three well-known secular carol tunes are showcased in this big and brassy, bright and flashy seasonal extravaganza, especially suited as a concert opener. Beginning with a cascade of chimes, soaring woodwind runs, and bold brass lines, 'Deck the Hall' and 'Here We Come A-Caroling' are presented with dynamic flair, interspersed with brief fanfare-like episodes. The mood transitions to a jaunting sleigh ride across the winter landscape, partnering the second time through with 'Jingle Bells,' as the spirited celebration closes with a short coda, drawn from musical materials heard in the opening measures of the work. (2:55) This title is available in SmartMusic. / Date parution : 2022-10-12/ Répertoire / Concert Band
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14 Motetten (BRUCKNER ANTON / DOSS THOMAS (Arr)
76.54
14 Motetten (BRUCKNER ANTON / DOSS THOMAS (Arr)
Orchestre d'harmonie
[Conducteur]
Oktavian Music
Anton Bruckner (18241896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckn...
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Anton Bruckner (18241896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). 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 : 2023-08-12/ Répertoire / Concert Band/Harmonie
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Polonaise (DVORAK ANTONIN)
133.10
Polonaise (DVORAK ANTONIN)
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Intermédiaire/avancé
De Haske Publications
Arr. Wil Van Der Beek. Par DVORAK ANTONIN. The year 2004 marked the 100th annive...
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Arr. Wil Van Der Beek. Par DVORAK ANTONIN. The year 2004 marked the 100th anniversary ofthe death of Antonin Dvorák. In 1879 Dvorákwrote this Polonaise as a commission for thecommittee organising the festivities for theirfamous national dance festival. Many famousCzech composers wrote dances specially for thisevent. This Polonaise in three movements, with itsfine melody lines, deserves to be more than just anoccasional work, however. Wil van der Beek’sconcert band arrangement does justice to theoriginal piece. / Niveau : 5 / Répertoire / Concert Band ou Harmonie
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Starfall (SHELDON ROBERT)
105.45
Starfall (SHELDON ROBERT)
Orchestre d'harmonie
[Conducteur et Parties séparées]
Alfred Publishing
Par SHELDON ROBERT. Starfall by Robert Sheldon is a dynamic and exciting piece t...
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Par SHELDON ROBERT. Starfall by Robert Sheldon is a dynamic and exciting piece that was inspired by a viewing of the Lyrid meteor shower. This composition invokes interstellar drama with introspection into the vastness of our universe. (5:04) / Date parution : 2022-10-12/ Répertoire / Concert Band
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R. R. Bennett: Autobiography For Pt2 Sc Band: Concert Band: Score
7.50
R. R. Bennett: Autobiography For Pt2 Sc Band: Concert Band: Score
Orchestre d'harmonie
[Partition]
Schirmer
Score-The suggestion that I write my autobiography was made at a time when anyon...
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Score-The suggestion that I write my autobiography was made at a time when anyone who did not write one risked being called eccentric. It became and still is a major sport among the oldsters. Some of the contemporary books are goodreading indeed. One of the best of them is the result of an enormous research job as is brought out in the introduction to the work. Imagine spending long hours and traveling many miles to find out about oneself: I am sure Iwould be one of the first to be utterly bored by the subject. It was not so easy however to dismiss the whole idea as my friends presented it.The only answer I could think of with any degree of enthusiasm was this one written purely for whatever pleasure it could give. My own part of the pleasure is mostly in utilizing the musical language of the concert band with its apparently inexhaustible colors and its fabulous vitality.The form(if the term has any right being here) is seven short pictures each about two minutes long of my own personal seven ages. The two-minute idea may be the result of the loudspeakers spread all over the hotel in Arizona where thepiece was composed. There was no getting out of ear-shot of those two-minute gems - in the dining rooms around the swimming pools by the putting green everywhere-but I honestly do not believe any of them crept into what I waswriting. I do not believe I paid much more than passing attention to them.Part Two:IV. 1916: Mo. to N.Y.V. 1919: The Merrill MiracleVI. 1926: A Parisian in ParisVII. 1935: What Was theQuestion?The three of my seven ages in Part One took us to the legal end of my youth. Gathering up my unspectacular belongings including my entire fortune of less than two hundred dollars I swooped down on New Yorkfor no more reason than that it was New York and had a street in it called Broadway. The music borrows two or three rhythms from the era but the only note-for-note quote is what the bugler at Camp Funston played every morning
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Portrait Of A City (SPARKE PHILIP)
231.70
Portrait Of A City (SPARKE PHILIP)
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Intermédiaire/avancé
Anglo Music
Par SPARKE PHILIP. In this exciting suite Philip Sparke sets out to capture the ...
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Par SPARKE PHILIP. In this exciting suite Philip Sparke sets out to capture the essence of his hometown, London, with each of the three movements depicting one of the many characteristics of this fascinating city. Skyline shows the frantic lifestyles of Londoners with millions of diverse people with different hopes and needs. Autumn shows the changes that take place in London during the different seasons and Downtown portrays the exciting nightlife of the West End. / Niveau : 4 / Pièce de concert / Répertoire / Concert Band ou Harmonie
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Portrait Of A City (SPARKE PHILIP)
39.43
Portrait Of A City (SPARKE PHILIP)
Orchestre d'harmonie
[Conducteur]
-
Intermédiaire/avancé
Anglo Music
Par SPARKE PHILIP. In this exciting suite Philip Sparke sets out to capture the ...
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Par SPARKE PHILIP. In this exciting suite Philip Sparke sets out to capture the essence of his hometown, London, with each of the three movements depicting one of the many characteristics of this fascinating city. Skyline shows the frantic lifestyles of Londoners with millions of diverse people with different hopes and needs. Autumn shows the changes that take place in London during the different seasons and Downtown portrays the exciting nightlife of the West End. / Niveau : 4 / Pièce de concert / Répertoire / Concert Band ou Harmonie
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