Green Day - ¡Uno!

SKU: HL.14012205

SKU: BT.AMP-403-010

English-German-French- Dutch.

Philip Sparke’s third symphony, A Colour Symphony, was commissioned by “sinfonischen blasorchester wehdel” conducted by Thomas Ratzek. In the five movements (white, yellow, blue, red and green) the composer creates links betweenthe instrumentation and harmonic elements and the actual colour of the spectrum the movement stands for. In order to create the greatest richness possible, Philip Sparke used a very large instrumentation including low woodwinds, harp, piano andcelli. A Colour Symphony is an impressive and iconic addition to the standard repertoire for large symphonic bands.

De derde symfonie van Philip Sparke, A Colour Symphony, is geschreven in opdracht van het ‘sinfonischen blasorchester wehdel’, dat onder leiding staat van dirigent Thomas Ratzek. In de vijf delen (white, yellow, blue, red andgreen) legt de componist verbanden tussen de instrumentatie en harmonische elementen en de kleur waar het betreffende deel voor staat. Om een grote klankrijkdom te creëren heeft Sparke een omvangrijk palet aan instrumentatie gebruikt,waaronder het lage houtregister, een harp, piano en cello’s. A Colour Symphony is een indrukwekkende en iconische aanvulling op het standaardrepertoire van het grote symfonische blaasorkest.

Phili p Sparkes dritte Sinfonie, A Colour Symphony, wurde vom Sinfonischen Blasorchester Wehdel, das von Thomas Ratzek geleitet wird, in Auftrag gegeben. In den fünf Sätzen (white, yellow, blue, red and green) stellt der Komponisteine Verbindung zwischen der Instrumentierung und den harmonischen Elementen sowie der jeweiligen Farbe, für die der Satz steht, her. Um eine möglichst große Bandbreite zu erzeugen, verwendete Philip Sparke eine sehr umfangreiche Instrumentierung mittiefen Holzbläsern, Harfe, Klavier und Celli. A Colour Symphony ist eine eindrucksvolle und hervorragende Ergänzung zum Standardrepertoire für sinfonisches Blasorchester.

La troisième symphonie de Philip Sparke, A Colour Symphony, fut commandée par le Sinfonisches Blasorchester Wehdel, dont le chef d’orchestre est Thomas Ratzek. Dans chacun des cinq mouvements (white, yellow, blue, red and green),le compositeur établit un rapport entre l’instrumentation et les éléments harmoniques, et la couleur réelle attribuée au mouvement spécifique. Pour créer autant de richesse que possible, Philip Sparke utilise une instrumentation variée qui comprendles bois de registre grave, harpe, piano et violoncelles. A Colour Symphony est un ajout impressif et iconique au répertoire de norme des grands orchestres d’harmonie.

La terza sinfonia di Philip Sparke, è stata commissionata dalla Sinfonischen Blasorchester Wehdel di Thomas Ratzek. Ciascuno dei quattro movimenti corrisponde a un colore (bianco, giallo, blu e rosso), in un inarrestabile sinestetico rincorrersi di suoni e visioni. L’orchestrazione è di quelle imponenti: legni, arpa, pianoforte e violoncello svolgono una parte fondamentale nell’opera di conferimento di ulteriore rigoglio arrangiativo alla sinfonia sparkiana.

SKU: PR.16400272S

UPC: 680160588442. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.

SKU: PR.164002720

UPC: 680160573042. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.

SKU: CF.YPS244

ISBN 9781491159859. UPC: 680160918447.

Brass town Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft. It is located in the northeastern part of the state and is part of the southern Appalachians. The mountain received its name from the Cherokee word Itse'yi (New Green Place) or (Place of Fresh Green) referring to its grassy, instead of timbered summit. The term Brasstown came from a confusion of Itse'yi with Untsaiyi (brass). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term Bald is common terminology describing mountaintops that have 360-degree unobstructed views. Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.
Brasstown Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft.  It is located in the northeastern part of the state and is part of the southern Appalachians.  The mountain received its name from the Cherokee word Itse’yi (“New Green Place”) or (“Place of Fresh Green”) referring to its grassy, instead of timbered summit. The term “Brasstown” came from a confusion of Itse’yi with Untsaiyi (“brass”). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term “Bald” is common terminology describing mountaintops that have 360-degree unobstructed views.  Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.

SKU: CF.YPS244F

ISBN 9781491159866. UPC: 680160918454.

Brass town Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft. It is located in the northeastern part of the state and is part of the southern Appalachians. The mountain received its name from the Cherokee word Itse'yi (New Green Place) or (Place of Fresh Green) referring to its grassy, instead of timbered summit. The term Brasstown came from a confusion of Itse'yi with Untsaiyi (brass). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term Bald is common terminology describing mountaintops that have 360-degree unobstructed views. Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.
Brasstown Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft.  It is located in the northeastern part of the state and is part of the southern Appalachians.  The mountain received its name from the Cherokee word Itse’yi (“New Green Place”) or (“Place of Fresh Green”) referring to its grassy, instead of timbered summit. The term “Brasstown” came from a confusion of Itse’yi with Untsaiyi (“brass”). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term “Bald” is common terminology describing mountaintops that have 360-degree unobstructed views.  Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.

SKU: BT.DHP-1114997-020

9x12 inches. English-German-French-Dut ch.

Spring has finally arrived. The days grow longer, birds prepare to nest, trees turn green and plants begin to bloom as nature wakes up from her winter sleep. This, and the fact that the composer’s third grandson was born in the spring, were the inspiration for Spring Song.

Het is voorjaar! De dagen worden langer, de vogels bouwen hun nestjes, bomen hullen zich in het groen en alle planten beginnen te bloeien. Kortom: de natuur ontwaakt uit haar winterslaap. En precies in dit jaargetijde zag ook hetderde kleinkind van de componist het levenslicht. Lente en nieuw leven: voor Jan de Haan twee prachtige inspiratiebronnen voor zijn nieuwe werk Spring Song!

Es ist Frühling. Die Tage werden länger, Vögel bauen ihre Nester, die Bäume schlagen aus und alle Pflanzen beginnen zu blühen. Kurz gesagt: Die Natur erwacht aus ihrem Winterschlaf. Der Frühling und der glückliche Umstand, dass just zu dieser Jahreszeit sein dritter Enkel das Licht der Welt erblickte inspirierte den Komponisten zu seinem Stück Spring Song.

C’est le printemps : les jours s’allongent et la nature sort de son sommeil hivernal. C’est toute l’effervescence du printemps qu’exhale Spring Song. En outre, cette ravissante pièce célèbre également la naissance du troisième petit fils du compositeur, né au printemps.

E’ primavera: la natura si risveglia, gli uccelli preparano i nidi, gli alberi e le piante cominciano a fiorire. Uno spettacolo che la natura ci regala puntuale ogni anno. Spring Song trasuda di questo splendore e vuole essere per Jan de Haan un benvenuto al mondo al suo terzo nipote, nato appunto in quella che è per molti la stagione più bella dell’anno..

SKU: BT.DHP-1114997-120

9x12 inches. English-German-French-Dut ch.

Spring has finally arrived. The days grow longer, birds prepare to nest, trees turn green and plants begin to bloom as nature wakes up from her winter sleep. This, and the fact that the composer’s third grandson was born in the spring, were the inspiration for Spring Song.

Het is voorjaar! De dagen worden langer, de vogels bouwen hun nestjes, bomen hullen zich in het groen en alle planten beginnen te bloeien. Kortom: de natuur ontwaakt uit haar winterslaap. En precies in dit jaargetijde zag ook hetderde kleinkind van de componist het levenslicht. Lente en nieuw leven: voor Jan de Haan twee prachtige inspiratiebronnen voor zijn nieuwe werk Spring Song!

Es ist Frühling. Die Tage werden länger, Vögel bauen ihre Nester, die Bäume schlagen aus und alle Pflanzen beginnen zu blühen. Kurz gesagt: Die Natur erwacht aus ihrem Winterschlaf. Der Frühling und der glückliche Umstand, dass just zu dieser Jahreszeit sein dritter Enkel das Licht der Welt erblickte inspirierte den Komponisten zu seinem Stück Spring Song.

C’est le printemps : les jours s’allongent et la nature sort de son sommeil hivernal. C’est toute l’effervescence du printemps qu’exhale Spring Song. En outre, cette ravissante pièce célèbre également la naissance du troisième petit fils du compositeur, né au printemps.

E’ primavera: la natura si risveglia, gli uccelli preparano i nidi, gli alberi e le piante cominciano a fiorire. Uno spettacolo che la natura ci regala puntuale ogni anno. Spring Song trasuda di questo splendore e vuole essere per Jan de Haan un benvenuto al mondo al suo terzo nipote, nato appunto in quella che è per molti la stagione più bella dell’anno..

SKU: YM.GTW01098116

ISBN 9784636981162.

For those who are looking for scores written in the original song keys for wind and brass, here you are!
In this series, 40 popular J-POP songs are transposed for each instrument and can be played in the same keys as the original songs. (For example, if the original song is in C major, the score for trumpet in B-flat is re-transposed and written in D major to play in C major.) It is a great selection for a live session with other instruments such as piano or guitar.
*Please note: the chord names are indicated in real tone notation for all scores in the series.

SKU: YM.GTW01098118

ISBN 9784636981186.

For those who are looking for scores written in the original song keys for wind and brass, here you are!
In this series, 40 popular J-POP songs are transposed for each instrument and can be played in the same keys as the original songs. (For example, if the original song is in C major, the score for trumpet in B-flat is re-transposed and written in D major to play in C major.) It is a great selection for a live session with other instruments such as piano or guitar.
*Please note: the chord names are indicated in real tone notation for all scores in the series.