Back to the Future

SKU: CF.CPS245F

ISBN 9781491158135. UPC: 680160916733. 9 x 12 inches.

ABOUT THE MUSIC Future of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang. Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work. EDUCATIONAL NOTES Key: Eb Major SECTION BARS EVENT / SCORING / SUGGESTIONS Introduction 1-4 Opens in Eb major with dotted rhythm motif. 1st Strain 5-20 Take note of melodic phrasing above the (light) oom-pah ostinato; melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this anew ideaa needs to be heard clearly for contrast with the previous statement. 2nd Strain 21-36 C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29. Trio 37-56 Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps. Break Strain 57-62 Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain. Final Strain 63-82 Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79. NOTE TO THE CONDUCTOR This march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece. This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets. I wish you the best in the performance of this work. - Benjamin Yeo.
ABOUT THE MUSIC Future of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang. Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work. EDUCATIONAL NOTES Key: Eb Major SECTION BARS EVENT / SCORING / SUGGESTIONS Introduction 1-4 Opens in Eb major with dotted rhythm motif. 1st Strain 5-20 Take note of melodic phrasing above the (light) oom-pah ostinato; melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this 'new idea' needs to be heard clearly for contrast with the previous statement. 2nd Strain 21-36 C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29. Trio 37-56 Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps. Break Strain 57-62 Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain. Final Strain 63-82 Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79. NOTE TO THE CONDUCTOR This march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece. This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets. I wish you the best in the performance of this work. - Benjamin Yeo.
ABOUT THE MUSICFuture of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang.Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work.EDUCATIONAL NOTESKey: Eb MajorSECTIONBARSEVENT / SCORING / SUGGESTIONSIntroduction1-4Opens in Eb major with dotted rhythm motif.1st Strain5-20Take note of melodic phrasing above the (light) oom-pah ostinato;melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this ‘new idea’ needs to be heard clearly for contrast with the previous statement.2nd Strain21-36C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29.Trio37-56Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps.Break Strain57-62Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain.Final Strain63-82Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79.NOTE TO THE CONDUCTORThis march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece.This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets.I wish you the best in the performance of this work.- Benjamin Yeo.

SKU: AP.50308

UPC: 038081574783. English.

Great Scott! Back to the Future is back---and this time on Broadway! Take your audience on a two-minute ride to 1985 with this high-energy rock song by Huey Lewis and the News. Bring some lightning to the stage with the optional horns-and-rhythm SoundPax, or the electrifying SoundTrax accompaniment.

About Alfred Pop Choral Series

The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.

SKU: AP.50309

UPC: 038081574790. English.

Great Scott! Back to the Future is back---and this time on Broadway! Take your audience on a two-minute ride to 1985 with this high-energy rock song by Huey Lewis and the News. Bring some lightning to the stage with the optional horns-and-rhythm SoundPax, or the electrifying SoundTrax accompaniment.

About Alfred Pop Choral Series

The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.

SKU: AP.50305

UPC: 038081574752. English.

Great Scott! Back to the Future is back---and this time on Broadway! Take your audience on a two-minute ride to 1985 with this high-energy rock song by Huey Lewis and the News. Bring some lightning to the stage with the optional horns-and-rhythm SoundPax, or the electrifying SoundTrax accompaniment.

About Alfred Pop Choral Series

The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.

SKU: WD.080689565175

UPC: 080689565175.

With a script and songs delivering a musical full of faster-than-the-speed-of-light-fun and an out-of-this-world, Biblically-based message, STAR QUEST...Search for the Stolen Scriptures is the latest and greatest from Kidz Choir pros Christy and Daniel Semsen.

Catapult your next Kidz Choir program into hyperspace with this new, space-age, scripture memory musical for Kidz!
In a galaxy far away, and in a future not too distant, the crew of spaceship J-316 is on a mission: trekking through the galaxy, bringing the Word of God to people everywhere! In the future, all written communication is now sent and stored digitally–nothing is written on paper. The Bible is stored on the Intergalactic Bible Data Base, allowing all people access to God’s Word. But there is a radical plot underway by a misguided, power-hungry ruler who is steadily erasing scriptures from the database. The crew of J-316 has just landed on a planet whose inhabitants still employ the age-old practice of Bible memorization. With the Word of God hidden in their hearts, they offer to go back to the ship with the crew to help restore the lost scriptures. But will they be able to stop the plot to steal scriptures away? Time is of the essence, and nothing in this world or beyond could be more important than making sure God’s Word remains available to people throughout the galaxy!

With a laser-focused script, galactically-cool songs, sonically-rad tracks, and a droid-friendly DVD, STAR QUEST...Search for the Stolen Scriptures, will take your kids on the most adventurous, farthest-travelled, fastest-paced missionary trip in history as they memorize God’s Word through fun and song. Set Backdrops, Fun Kits, and T-shirts are available to enhance your presentation of STAR QUEST!

SKU: BT.DHP-1002209-010

Sinfonia Hungarica is a three-movement symphony that depicts the history of Hungary. All three movements were inspired by historical key figures, wars, and other important events from this country. This symphony is a celebration of Hungary’s millennium in 2001.The final movement is named after ISTVAN, the King who introduced Christianity into Hungary and who was crowned by Pope Silvestro II on January 1, 1001. A rather solemn start leads to another war-like passage, ending with some loud crashes. This symbolizes the fact that the body of the pagan Koppany was cut into four pieces, and sent to the four castles of the country as an example. After a quiet, almost religiousintermezzo, the National Hymn of Hungary is introduced. This broad “grandioso” ending also has a symbolic meaning: after ten centuries, Hungary has many reasons to look back on the past with pride, and to look forward to the future with optimism and confidence.

Dit stuk werd gecomponeerd in opdracht van het symfonisch blaasorkest Kiskunfélegyhaza uit Hongarije en opgedragen aan dirigent Ferenc Jankovski, burgemeester Jozsef Ficsor en Gabriella Kiss. De wereldpremière vond plaats op 31 maart2001 in Budapest (Hongarije) door het eerdergenoemde orkest onder leiding van de componist.Deze driedelige symfonie beschrijft de geschiedenis van Hongarije. De drie delen zijn ge nspireerd op historische sleutelfiguren, oorlogenen andere belangrijke gebeurtenissen in dit land. De symfonie werd geschreven ter gelegenheid van de millenniumviering van Hongarije in 2001.ATTILA, koning van de Hunnen, vaak ‘de gesel Gods’ genoemd, is de centrale figuurin het eerste deel, dat voornamelijk wordt gekenmerkt door angst, dreiging, agressie en wreedheid. Attila’s broer, Buda, heeft echter een hero scher thema, terwijl zijn geliefde vrouw, Rika, een lyrische melodie heeft. Het spannendeeinde van dit openingsdeel illustreert de gevreesde snelheid van Attila’s troepen: ze achtervolgden hun slachtoffers en vermoordden ze allemaal! Het tweede deel gaat over ARPAD, de stichter van de Hongaarse staat. Hetbegint met een sfeerpassage, die het beeld oproept van zijn grootmoeder, Emese, dromend over zijn bestemming. Een van Arpad’s tegenstanders, de Bulgaarse prins Zalan, werd verdreven na een gevecht. Hierna noemde Arpad het gebiedofficieel ‘Magyarorszag’.Het laatste deel is genoemd naar ISTVAN, de koning die het christendom in Hongarije introduceerde en die werd gekroond door paus Silvester II op 1 januari 1001. Een vrij plechtige start leidt tot nogeen martiale passage, die eindigt met een aantal luide slagen. Deze symboliseren het voorval waarbij het lichaam van de heiden Koppany in vier stukken werd gesneden, die naar de vier kastelen van het land werden gezonden als schrikwekkend

Die Sinfonie in drei Sätzen ist eine musikalische Schilderung der Geschichte Ungarns. Alle drei Sätze haben bedeutende historische Persönlichkeiten und Schlüsselereignisse aus der Landesgeschichte - wie etwa Kriege - zum Inhalt. Das Werk wurde zuUngarns Tausendjahrfeier im Jahr 2001 geschrieben.Attila, König der Hunnen, oftmals auch die Geißel Gottes genannt, ist die zentrale Gestalt des ersten Satzes; in seiner musikalischen Beschreibung sind Aggressivität und Grausamkeit, die vonihm ausgehende Bedrohung und ihm entgegengebrachte Furcht spürbar. Daneben erscheinen das heroischer klingende Thema von Buda, Attilas Bruder, und das lyrische von Rika, seiner zärtlich geliebten Frau. Der aufpeitschende Schluss desSatzes ist Sinnbild für die gefürchtete Schnelligkeit von Attilas Truppen, mit der sie ihre Opfer eingeholt und ohne Ausnahme getötet haben.Im Mittelpunkt des zweiten Satzes steht Arpad, der eigentliche Begründer des ungarischen Staates. Eineatmosphärisch klingende Einleitung beschwört Emese, die Großmutter Arpads, herauf, die im Traum seine Bestimmung vorhergesehen hatte. Er schlug seinen Gegner, den Prinzen Zalan von Bulgarien, im Kampf in die Flucht und gab dem Land denNamen Magyarorszag.Das Finale ist nach Istvan benannt, dem König, der in Ungarn das Christentum einführte und am ersten Januar 1001 durch Papst Sylvester II. gekrönt wurde. Ein feierlicher Anfang leitet über in einen an Kriegsgetümmelerinnernden Abschnitt, der in lärmendem Getöse endet. Es steht für das Ende des Heiden Koppany, dessen Körper gevierteilt und als abschreckendes Beispiel an die vier Burgen des Landes gesandt wurde. Ein ruhiges, beinahe religiös wirkendesZwischenspiel mündet in die ungarische Nationalhymne. Dieser prachtvolle, mit grandioso überschriebene Schluss hat auch eine symbolische Bedeutung: Nach zehn Jahrhunderten hat Ungarn guten Grund, mit Stolz zurückzublicken und der Zukunft mitZuversicht und Optimismus entgegenzusehen.Die wunderbare Melodie der Nationalhymne erscheint in der Sinfonie auch vorher schon immer wieder, wird meist aber ganz oder teilweise überdeckt. Sie durchläuft das Werk wie ein roter Faden, der anfangs kaumwahrzunehmen ist und erst im Verlauf der Sinfonie immer deutlicher wird. Am Ende krönt sie das Werk in einer letzten prachtvollen Steigerung, in der das Orchester den majestätischen Klang einer Orgel annimmt.

Sinfonia Hungarica est une œuvre de commande pour l’Orchestre d’Harmonie de Kiskunfelegyhaze en Hongrie. Elle est dédiée Ferenc Jankovski (Directeur de l’Orchestre d’Harmonie), Jozsef Ficsor (Maire de la ville de Kiskunfelegyhaze) et Gabriella Kiss.Cette symphonie en trois mouvements retrace l’histoire de la Hongrie. L’ensemble des trois mouvements s’inspire de la vie de personnages historiques clés, de guerres et d’autres événements de grande importance qui ont marqué l’histoire de ce pays. Sinfonia Hungarica célèbre le millénaire de la fondation de l’État hongrois (1001-2001). L’œuvre a été donnée en création mondiale, le 31 mars 2001 Budapest,par l’Orchestre d’Harmonie de Kiskunfelegyhaze placé sous la direction du compositeur.ATTILA, roi des Huns, surnommé “le Fléau de Dieu”, est le personnage central du premier mouvement où règne une atmosphère de peur, de menace, d’agression et de cruauté. Bléda, le frère d’Attila, est associé un thème aux accents plus héro ques, tandis que Kerka, l’épouse bien-aimée du roi des Huns, est représentée par une mélodie lyrique. La fin trépidante de ce mouvement d’ouverture illustre l’effroyable rapidité avec laquelle les troupes d’Attila poursuivaient et tuaient toutes leurs victimes.Le deuxième mouvement est centré sur ARPAD, le fondateur de l’État hongrois. Un passage limpide et aérien ouvre ce mouvement évoquant Émèse, la grand-mère d’Arpad, qui vit en rêve sa destinée future. Après avoir livré bataille contre l’un de ses opposants, le prince bulgare Zalan, et l’avoir chassé des terres magyares, Arpad donne officiellement au territoire le nom de Magyarorszag.Le troisième et dernier mouvement de la symphonie porte le nom de celui qui convertit le pays au christianisme : Étienne Ier (ISTVAN), sacré roi de Hongrie le 1er janvier 1001 par le Pape Sylvestre II. Les mesures d’ouverture, solennelles et majestueuses, mènent un passage dont l’atmosphère belliqueuse s’intensifie pour s’achever en de violents fracas symbolisant la mort

Sinfonia Hungarica, commissionata dalla banda ungherese di Kiskunfelegyahaza, è dedicata al maestro Ferenc Jankovski, al sindaco della citt Jozsef Ficsor e a Gabriella Kiss. La prima mondiale, eseguita dalla banda Kiskunfelegyhaza si è tenutaa Budapest il 31 marzo 2001 sotto la direzione del compositore.Gli eventi salienti della storia dell’Ungheria, come le guerre ed altri avvenimenti importanti, sono tradotti in musica in questa sinfonia strutturata in tre movimenti. Sinfonia Hungaricavuole anche essere un omaggio allo stato ungherese che festeggia il suo millennio nel 2001.ATTILA, re degli Unni, spesso chiamato “il flagello di Dio“ è la figura centrale del primo movimento, caratterizzato dalla paura, dalla minaccia,dall’aggressione e dalla crudelt . Buda, fratello di Attila è associato ad un tema più eroico, mentre Rika, l’amata moglie, è rappresentata da una melodia lirica. L’eccitante finale di questo movimento di apertura illustra la tanto temuta velocit delle truppe di Attila che seminavano paura e morte.Il secondo movimento pone l’accento su ARPAD, il fondatore dello Stato ungherese. Inizia con un passaggio in stile atmosferico che evoca la nonna di Arpad, Emese che aveva sognato e predettoil futuro del nipote. Uno degli oppositori di Arpad, il principe bulgaro Zalan, fu cacciato dopo una battaglia. In seguito, Arpad chiamò ufficialmente il territorio “Magyarorszag”.Il movimento finale prende il nome da ISTVAN, il re che portòil cristianesimo in Ungheria e che fu incoronato da Papa Silvestro II il 1 gennaio, 1001. Un inizio solenne prelude ad un passaggio bellico accentuato da rumori imponenti; questo a simboleggiare l’atroce fine del pagano Koppany il cui corpo futagliato in quattro pezzi e inviato ai quattro castelli del paese come monito. Dopo un intermezzo quieto, quasi religioso, viene presentato l’Inno nazionale ungherese. In questo ampio e grandioso finale riecheggia l’orgoglio dell’Ungheria nelricordare il suo passato e la fiducia con la quale si proietta al futuro.Lo stupendo tema dell’Inno nazionale ungherese è proposto nell’arco dell’intera sinfonia. E’ però spesso parzialmente nascosto e usato come filo conduttore, appena riconoscibileall’inizio ma sempre più ovvio quando la sinfonia si avvicina al suo finale. A conclusione della sinfonia, il sublime inno conduce la banda in un’apoteosi finale, facendo apparire l’organico strumentale come un maestoso organo.