Marche du train, Bf

SKU: BR.EB-9253

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

ISBN 9790004185537. 9 x 12 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.

SKU: BR.PB-5432

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

ISBN 9790004212790. 10 x 12.5 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.

SKU: RM.MENI01196-CO

SKU: RM.FAYE00930-BA

ISBN 9790231009309.

Le pas de charge des grenadiers - Le reveil au bivouac - Le drapeau d'Austerlitz - Le champ d'honneur - Les retraites francaises - Le rigodon d'honneur - La marche ds trainards - Le rigodon des manchots Pas redouble de la Garde Imperiale.

SKU: MB.30670

ISBN 9781513465296. 8.75 x 11.75 inches.

This unique collection celebrates the contemporary fiddle music of northeast Ireland, much of it for the first time in print. Not surprisingly, given its location and long history of traditional music, the fiddle music of this region shares some characteristics with Scottish music, yet it has its own distinct style. For those who are not familiar with this ruggedly attractive part of Ireland, this book will introduce you to some of its music and musicians. The tunes presented here, collected by County Antrim fiddler, Rowan Leslie, have all been written relatively recently by local musicians. Each tune is offered in two versions?one with the barebones melody and suggested accompaniment chords, and a second with ornamentation, articulation and bowing details. All tune types from northeast Ireland are represented, including jigs and reels, polkas and hornpipes, marches, barn dances and waltzes, plus set dances and slow airs. Moreover, the biographical sketches and backstories provided for each composer and tune demonstrate how the land itself, along with personal experiences and relationships, influence the fiddle music of northeast Ireland.

SKU: HL.50576073

SKU: BT.DHP-1115009-120

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

Latin ABC is a suite in three movements inspired by the music of the Caribbean. The first movement is a joyful Curaçaon waltz, the second movement a sensual, slow salsa: a style that is popular on the island of Bonaire. Finally, Latin ABC culminates with a rousing march that brings the listener to sunny Aruba. This work is suitable for Grade 3 players, and showcases the percussion section in particular.

Vrolijk, sensueel en opzwepend… Wat wilt u nog meer? Dit nieuwe driedelige werk van Peter Kleine Schaars heeft het namelijk allemaal in zich! Het eerste deel is een vrolijke Curaçaose wals. Hierin klinken tegelijkertijd een 3/4-thema en een 6/8-thema. Deel twee is de op het eiland Bonaire zeer populaire en sensuele, langzame salsa. Ten slotte is er een opzwepende road march waarbij de luisteraar zich direct op het zonnige Aruba waant. En dat allemaal doorspekt met slagwerk. Latin ABC: feestelijk en zomers!

Zu Latin ABC ließ sich Peter Kleine Schaars von karibischen Klängen inspirieren: Der erste Satz ist ein fröhlicher Walzer im Curaçao-Feeling, der zweite Satz ein sinnlicher, langsamer Salsa. Seinen Höhepunkt erreicht das Stück mit einem mitreißenden Straßenmarsch, das den Zuhörer auf die Insel Aruba entführt. Dies alles findet im Rahmen einer gut spielbaren Komposition im mittleren Schwierigkeitsgrad statt, in der das Schlagzeug eine wichtige Rolle spielt.

Peter Kleine Schaars s’est inspiré de l’ambiance musicale de trois îles des Antilles néerlandaises - Aruba, Bonaire et Curaçao - pour écrire cette suite en trois mouvements. Latin ABC s’ouvre par une valse allègre, où s’entrelacent un thème en 3/4 et un autre en 6/8. Le second mouvement apportera une touche traditionnelle avec une salsa lente et sensuelle. La pièce culmine avec une marche entraînante qui emmène l’auditeur au soleil d’Aruba. Le tout se déroule dans les limites d’une composition de niveau 3 où les percussions jouent un rôle important.

Per scrivere questa suite in tre movimenti, Peter Kleine Schaars si è ispirato all’atmosfera magica di tre isole delle Antille olandesi, Aruba, Bonaire e Curaçao. Latin ABC apre con un allegro valzer che intreccia sapientemente un tema in 3/4 e uno in 6/8. Il secondo movimento apporta un tocco tradizionale con una salsa lenta e sensuale. Il brano prosegue con una marcia coinvolgente che accompagna il pubblico al sole di Aruba. Un brano che regala un ruolo importante alle percussioni.

SKU: BT.DHP-1115009-020

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

Latin ABC is a suite in three movements inspired by the music of the Caribbean. The first movement is a joyful Curaçaon waltz, the second movement a sensual, slow salsa: a style that is popular on the island of Bonaire. Finally, Latin ABC culminates with a rousing march that brings the listener to sunny Aruba. This work is suitable for Grade 3 players, and showcases the percussion section in particular.

Vrolijk, sensueel en opzwepend�?� Wat wilt u nog meer? Dit nieuwe driedelige werk van Peter Kleine Schaars heeft het namelijk allemaal in zich! Het eerste deel is een vrolijke Curaçaose wals. Hierin klinken tegelijkertijd een 3/4-thema en een 6/8-thema. Deel twee is de op het eiland Bonaire zeer populaire en sensuele, langzame salsa. Ten slotte is er een opzwepende road march waarbij de luisteraar zich direct op het zonnige Aruba waant. En dat allemaal doorspekt met slagwerk. Latin ABC: feestelijk en zomers!

Zu Latin ABC lie�? sich Peter Kleine Schaars von karibischen Klängen inspirieren: Der erste Satz ist ein fröhlicher Walzer im Curaçao-Feeling, der zweite Satz ein sinnlicher, langsamer Salsa. Seinen Höhepunkt erreicht das Stück mit einem mitrei�?enden Stra�?enmarsch, das den Zuhörer auf die Insel Aruba entführt. Dies alles findet im Rahmen einer gut spielbaren Komposition im mittleren Schwierigkeitsgrad statt, in der das Schlagzeug eine wichtige Rolle spielt.

Peter Kleine Schaars s�??est inspiré de l�??ambiance musicale de trois îles des Antilles néerlandaises - Aruba, Bonaire et Curaçao - pour écrire cette suite en trois mouvements. Latin ABC s�??ouvre par une valse allègre, où s�??entrelacent un thème en 3/4 et un autre en 6/8. Le second mouvement apportera une touche traditionnelle avec une salsa lente et sensuelle. La pièce culmine avec une marche entraînante qui emmène l�??auditeur au soleil d�??Aruba. Le tout se déroule dans les limites d�??une composition de niveau 3 où les percussions jouent un rôle important.

Per scrivere questa suite in tre movimenti, Peter Kleine Schaars si è ispirato all�??atmosfera magica di tre isole delle Antille olandesi, Aruba, Bonaire e Curaçao. Latin ABC apre con un allegro valzer che intreccia sapientemente un tema in 3/4 e uno in 6/8. Il secondo movimento apporta un tocco tradizionale con una salsa lenta e sensuale. Il brano prosegue con una marcia coinvolgente che accompagna il pubblico al sole di Aruba. Un brano che regala un ruolo importante alle percussioni.

SKU: CF.CPS245

ISBN 9781491158128. UPC: 680160916726. 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: 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: SP.TS180

ISBN 9781585604623. UPC: 649571101800.

Varie ty lies at the core of 83 Classified Piano Solos published by Santorella Publications. It combines eighty-three songs from seven different genres to form an incredibly unique product. From Hymns to Marches, Waltzes to Folk songs and Classics to Boogie, 83 Classified Piano Solos has everything that a beginning piano student needs. Boredom is a major obstacle to learning which students and teachers have encountered. They have found it extremely difficult to maintain interest when using a single resource. Often, supplemental materials are needed to keep study interesting and exciting since it is nearly impossible to find adequately diverse books. This adds a significant and unnecessary financial burden on both parties. 83 Classified Piano Solos from Santorella Publications is different. This best-selling easy piano title eliminates the need for costly supplemental materials while exploring many composers in varied genres and keeping study fun and interesting. To take full advantage of the variety, we strongly urge that you jump around from section to section and explore all that 83 Classified Piano Solos has to offer. This Jonathon Robbins best seller from Santorella Publications includes a performance CD which serves as a great tool for the beginning student. He or she can listen to a performance of each piece performed at the appropriate tempos, dynamics and stylings, then emulate this during their own performance, practice or study sessions. Just take a look at the incredibly diverse range of titles found in this great Santorella title: WALTZES - WALTZ (From, The Sleeping Beauty) - Tchaikovsky - EMPEROR WALTZ - Strauss - WALTZ IN A MINOR - Chopin, WALTZ IN Bb - Schubert - WALTZ IN C - Schubert - WALTZ IN C - Brahms - WAVES OF THE DANUBE - Ivanovici - WALTZ OF THE FLOWERS (From, The Nutcracker) - Tchaikovsky COWBOY MUSIC RED RIVER VALLEY - HOME ON THE RANGE - POOR, LONESOME COWBOY - GOOD BYE OLD PAINT - BIG ROCK CANDY MOUNTAIN - I'D LIKE TO BE IN TEXAS - THE COLORADO TRAIL - TO BURY ME NOT ON THE LONE PRAIRIE - WHOOPIE TI-YI-YO! (Git Along Little Dogies!) HYMNS ABIDE WITH ME - I NEED THEE EVERY HOUR - WHAT A FRIEND WE HAVE IN JESUS - ETERNAL FATHER - STRONG TO SAVE - HEAR OUR PRAYER - O LORD - I LOVE TO TELL THE STORY - ROCK OF AGES - COME, THOU ALMIGHTY KING - MY FAITH LOOKS UP TO THEE - NEARER, MY GOD TO THEE - HE LEADETH ME - ALL HAIL THE POWER OF JESUS' NAME - HOLY, HOLY, HOLY - SWEET HOUR OF PRAYER - IN THE SWEET BYE AND BYE - FAITH OF OUR FATHERS FOLK MUSIC BILLYBOY - ALOUETTE - ON TOP OF OLD SMOKY - CRAWDAD SONG - TURKEY IN THE STRAW - THE FARMER IN THE DELL - SKIP TO MY LOU - SHE'LL BE COMIN''ROUND THE MOUNTAIN - PUT YOUR LITTLE FOOT - JOHN PEEL - OH, WHERE HAS MY LITTLE DOG GONE - MARY HAD A LITTLE LAMB - FOR HE'S A JOLLY GOOD FELLOW - POLLY WOLLY DOODLE MARCHES THE STARS AND STRIPES FOREVER - AMERICAN PATROL - MARCH OF THE PRIESTS (From, Athalia) - GRAND MARCH (From the Opera, Aida) - DIXIE - THE MARINES' HYMN - SOLDIER'S CHORUS (From the Opera, Faust) - HAIL TO THE CHIEF - ANCHORS AWEIGH - THE THUNDERER CLASSICS CRADLE SONG - Brahms - TURKISH MARCH (From, The Ruins of Athens) - Beethoven, NOCTURNE IN F - Chopin - MINUET IN G - Bach - MUSETTE - Bach - FANTASIE IMPROMTU - Chopin - GAITE PARISIENNE (Can Can) - Offenbach - THEME FROM SURPRISE SYMPHONY - Haydn - MARCHE MILITAIRE - Schubert - UNFINISHED SYMPHONY THEME - Schubert - LARGO (From the Opera, Xerxes) - Handel - TOREADOR SONG (From the Opera, Carmen) - Bizet - JUNE - Tchaikovsky - BRIDAL CHORUS (From the Opera, Lohengrin) - Wagner - BARCAROLLE (From, The Tales of Hoffman) - Offenbach, HALLELUJAH CHORUS (From, The Messiah) - Handel - LA DONNA E MOBILE (From the Opera, Rigoletto) - Verdi. BOOGIE WOOGIES (Jonathon Robbins) BOOGIE WOOGIE BLUES - DOODLIN'- RIDE THE BOOGIE WOOGIE TRAIN - THE LAZY BOOGIE WOOGIE - ONE NOTE BOOGIE - MR. BOOGIE WOOGIE - THE NON-STOP BOOGIE - THE HORSE BACK BOOGIE.

SKU: BT.AMP-335-030

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

Marcho Brioso was commissioned by The Brioso Brass, a British-style brass band from Hokkaido, Japan. They gave the first performance in January 2012.The commission was for a bright and breezy march that the band could use as their theme tune, so Marcho Brioso falls into the composer’s series of Broadway-style marches, which includes Slipstream, The Bandwagon and Jubiloso. After a short introduction a solo cornet plays the main theme, accompanied by a euphonium counter-melody. A secondary phrase from the horns and baritones leads to a tutti version of the main theme which is followed by the traditional ‘bass’ strain. A change of key heralds thetrio section, which features a cantabile melody on euphonium; this is then taken up by the full band after a short bridge passage and further change of key.This takes us back to the home key which sees a quiet staccato version of the main theme lead to a recapitulation and a short coda which brings the march to a close.

Marcho Brioso is geschreven in opdracht van The Brioso Brass, een brassband in Britse stijl uit Hokkaido in Japan. De première vond plaats in januari 2012.De componist kreeg het verzoek een vrolijke, luchtige mars te schrijven die de band als herkenningstune zou kunnen gebruiken. Marcho Brioso past daarom uitstekend in Philip Sparke’s serie van marsen in Broadwaystijl - waarin ook Slipstream, The Bandwagon en Jubiloso thuishoren.

Mar cho Brioso wurde von The Brioso Brass, einer britisch geprägten Brass Band aus Hokkaido in Japan, in Auftrag gegeben. Das Stück wurde von der Band im Januar 2012 uraufgeführt.Gewünscht war ein heiterer, flotter Marsch, welcher sich als Erkennungsmelodie der Brass Band eignen sollte. So fällt Marcho Brioso in die Reihe der Märsche des Komponisten im Broadway-Stil, zu denen auch Slipstream, The Bandwagon und Jubiloso zählen.Nach einer kurzen Einleitung spielt ein Solo-Cornet das Hauptthema, begleitet von einer Gegenmelodie im Euphonium. Die Nebenphrase in den Hörnern und Baritonen führen zu einer Tutti-Version des Hauptthemas, die vomtraditionellen Bass“-Solo abgelöst wird. Ein Tonartwechsel kündigt den Trio-Teil an, der eine cantabile gespielte Melodie auf dem Euphonium enthält; diese wiederum wird nach einer kurzen Überleitung und einem weiteren Tonartwechsel von der gesamten Band aufgegriffen.Der letzte Wechsel führt zurück zur ursprünglichen Tonart, in welcher dann eine Staccato-Version des Hauptthemas eine Rekapitulation hervorbringt sowie eine Coda, die den Marsch zu seinem Ende führt.

Marcho Brioso est une œuvre de commande pour le Brioso Brass, un Brass Band de style britannique basé Hokkaido, au Japon. La création mondiale de cette pièce eut lieu en janvier 2012.L’orchestre souhaitant une marche enjouée qui pourrait lui servir d’indicatif musical, Marcho Brioso s’inscrit dans la lignée des marches du compositeur : Jubiloso, Slipstream et The Bandwagon. Un style « broadwayien », des motifs fortement syncopés et quelques surprenantes et capricieuses mesures viennent troubler le rythme régulièrement cadencé de ces marches.Après une courte introduction, le cornet solo joue le thème principal, accompagné d’un contre-chant l’euphonium. Un second motif de huit mesures exécuté par les cors et les barytons mène une version tutti du thème principal. Puis une brève section intermédiaire est déléguée aux basses. Le changement de tonalité qui s’ensuit annonce le trio qui contient une mélodie cantabile confiée l’euphonium ; ce trio est ensuite repris par l’orchestre entier après un bref passage de transition et un autre changement de tonalité.Nous revenons ensuite la tonalité de départ pour un rappel du thème principal en une paisible version staccato et une courte coda, pour conclure cette marche brillante et sémillante.

SKU: BT.AMP-335-130

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

Marcho Brioso was commissioned by The Brioso Brass, a British-style brass band from Hokkaido, Japan. They gave the first performance in January 2012.The commission was for a bright and breezy march that the band could use as their theme tune, so Marcho Brioso falls into the composer’s series of Broadway-style marches, which includes Slipstream, The Bandwagon and Jubiloso. After a short introduction a solo cornet plays the main theme, accompanied by a euphonium counter-melody. A secondary phrase from the horns and baritones leads to a tutti version of the main theme which is followed by the traditional ‘bass’ strain. A change of key heralds the triosection, which features a cantabile melody on euphonium; this is then taken up by the full band after a short bridge passage and further change of key.This takes us back to the home key which sees a quiet staccato version of the main theme lead to a recapitulation and a short coda which brings the march to a close.

Marcho Brioso is geschreven in opdracht van The Brioso Brass, een brassband in Britse stijl uit Hokkaido in Japan. De première vond plaats in januari 2012.De componist kreeg het verzoek een vrolijke, luchtige mars te schrijven die de band als herkenningstune zou kunnen gebruiken. Marcho Brioso past daarom uitstekend in Philip Sparke’s serie van marsen in Broadwaystijl - waarin ook Slipstream, The Bandwagon en Jubiloso thuishoren.

Mar cho Brioso wurde von The Brioso Brass, einer britisch geprägten Brass Band aus Hokkaido in Japan, in Auftrag gegeben. Das Stück wurde von der Band im Januar 2012 uraufgeführt.Gewünscht war ein heiterer, flotter Marsch, welcher sich als Erkennungsmelodie der Brass Band eignen sollte. So fällt Marcho Brioso in die Reihe der Märsche des Komponisten im Broadway-Stil, zu denen auch Slipstream, The Bandwagon und Jubiloso zählen.Nach einer kurzen Einleitung spielt ein Solo-Cornet das Hauptthema, begleitet von einer Gegenmelodie im Euphonium. Die Nebenphrase in den Hörnern und Baritonen führen zu einer Tutti-Version des Hauptthemas, die vomtraditionellen Bass“-Solo abgelöst wird. Ein Tonartwechsel kündigt den Trio-Teil an, der eine cantabile gespielte Melodie auf dem Euphonium enthält; diese wiederum wird nach einer kurzen Überleitung und einem weiteren Tonartwechsel von der gesamten Band aufgegriffen.Der letzte Wechsel führt zurück zur ursprünglichen Tonart, in welcher dann eine Staccato-Version des Hauptthemas eine Rekapitulation hervorbringt sowie eine Coda, die den Marsch zu seinem Ende führt.

Marcho Brioso est une œuvre de commande pour le Brioso Brass, un Brass Band de style britannique basé Hokkaido, au Japon. La création mondiale de cette pièce eut lieu en janvier 2012.L’orchestre souhaitant une marche enjouée qui pourrait lui servir d’indicatif musical, Marcho Brioso s’inscrit dans la lignée des marches du compositeur : Jubiloso, Slipstream et The Bandwagon. Un style « broadwayien », des motifs fortement syncopés et quelques surprenantes et capricieuses mesures viennent troubler le rythme régulièrement cadencé de ces marches.Après une courte introduction, le cornet solo joue le thème principal, accompagné d’un contre-chant l’euphonium. Un second motif de huit mesures exécuté par les cors et les barytons mène une version tutti du thème principal. Puis une brève section intermédiaire est déléguée aux basses. Le changement de tonalité qui s’ensuit annonce le trio qui contient une mélodie cantabile confiée l’euphonium ; ce trio est ensuite repris par l’orchestre entier après un bref passage de transition et un autre changement de tonalité.Nous revenons ensuite la tonalité de départ pour un rappel du thème principal en une paisible version staccato et une courte coda, pour conclure cette marche brillante et sémillante.

SKU: BT.DHP-1124756-140

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

Towards the Future was commissioned by the Nagoya City Fire Bureau for the 50th anniversary of the Nagoya City Fire Bureau Band (Nagoya, Japan). It was premiered by the band on 7 February 2009, conducted by Masuo Nakamura. This concert march was conceived to lift up the spirits of the firemen who save people’s lives. The solemn and heart-warming melodies express their braveness when faced with danger and the tenderness shown towards the people they protect.It is an ideal march to open a concert and to inspire both performers and audience.

Towar ds the Future is geschreven in opdracht van de Nagoya City Fire Bureau Band (Nagoya, Japan) ter gelegenheid van het vijftigjarig bestaan van het orkest. Het werk is tot stand gekomen met financiële steun van het NagoyaCity Fire Bureau. De première vond op 7 februari 2009 plaats onder leiding van Masuo Nakamura.Deze concertmars is gecomponeerd met de intentie om de brandweerlieden, die telkens weer het leven van burgers redden, een hart onder deriem te steken. De plechtige en hartverwarmende melodieën verklanken moed in gevaarlijke omstandigheden en de toewijding aan de mensen die worden beschermd.De mars is ideaal om een concert mee te openen en zowel muzikanten als publiekin de stemming te brengen.

Toward s the Futurewurde von der Nagoya City Bureau Band (Blasorchester der Städtischen Feuerwehr Nagoya, Japan) in Auftrag gegeben. Anlass zu diesem von der Städtischen Feuerwehr Nagoya unterstützten Werk war das 150-jährige Jubiläum dieses Orchesters, welches am 7.Februar 2009 unter der Leitung von Masuo Nakamura die Uraufführung spielte.Dieser Konzertmarsch wurde zur Ermutigung der Feuerwehrleute geschrieben, die Menschenleben retten. Die feierlichen, herzergreifenden Melodien beschreiben den Mut der Feuerwehrleute, den sie im Angesicht von Gefahr beweisen, und ihre Fürsorglichkeit gegenüber den Menschen, die sie beschützen.Mit diesem Marsch kann man sehr gutein Konzert eröffnen und die Stimmung von Musikern als auch Zuhörenden heben.

Towards the Future (Vers l’avenir) est une commande de l’Orchestre d’Harmonie des Pompiers de la ville de Nagoya, au Japon, l’occasion des festivités marquant le cinquantième anniversaire de la création de la formation. La première mondiale a eu lieu le 7 février 2009. Elle fut assurée par la formation dédicataire, placée sous la direction de Masuo Nakamura.Cette marche de concert a été composée pour stimuler le moral des pompiers, qui consacrent leur existence sauver des vies. Les lignes mélodiques de l’oeuvre, solennelles et apaisantes, reflètent non seulement leur bravoure lorsqu’ils se trouvent confrontés au danger, mais également la bienveillance qu’ils manifestentenvers les personnes qu’ils protègent. Idéale en ouverture de concert, cette marche inspirera entrain et gaieté ses interprètes et leur auditoire.

Questa marcia da concerto è stata composta in onore, ma anche per incoraggiare e sostenere i vigili del fuoco che salvano le vite dei cittadini, spesso mettendo a rischio la propria incolumit . Le melodie solenni e commoventi al contempo descrivono il coraggio di questi uomini davanti al pericolo e vogliono sottolineare la tenerezza e la dedizione nei confronti delle persone che sono chiamati a salvare.

SKU: BT.DHP-1124756-010

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

Towards the Future was commissioned by the Nagoya City Fire Bureau for the 50th anniversary of the Nagoya City Fire Bureau Band (Nagoya, Japan). It was premiered by the band on 7 February 2009, conducted by Masuo Nakamura. This concert march was conceived to lift up the spirits of the firemen who save people’s lives. The solemn and heart-warming melodies express their braveness when faced with danger and the tenderness shown towards the people they protect.It is an ideal march to open a concert and to inspire both performers and audience.

Towar ds the Future is geschreven in opdracht van de Nagoya City Fire Bureau Band (Nagoya, Japan) ter gelegenheid van het vijftigjarig bestaan van het orkest. Het werk is tot stand gekomen met financiële steun van het NagoyaCity Fire Bureau. De première vond op 7 februari 2009 plaats onder leiding van Masuo Nakamura.Deze concertmars is gecomponeerd met de intentie om de brandweerlieden, die telkens weer het leven van burgers redden, een hart onder deriem te steken. De plechtige en hartverwarmende melodieën verklanken moed in gevaarlijke omstandigheden en de toewijding aan de mensen die worden beschermd.De mars is ideaal om een concert mee te openen en zowel muzikanten als publiekin de stemming te brengen.

Toward s the Futurewurde von der Nagoya City Bureau Band (Blasorchester der Städtischen Feuerwehr Nagoya, Japan) in Auftrag gegeben. Anlass zu diesem von der Städtischen Feuerwehr Nagoya unterstützten Werk war das 150-jährige Jubiläum dieses Orchesters, welches am 7.Februar 2009 unter der Leitung von Masuo Nakamura die Uraufführung spielte.Dieser Konzertmarsch wurde zur Ermutigung der Feuerwehrleute geschrieben, die Menschenleben retten. Die feierlichen, herzergreifenden Melodien beschreiben den Mut der Feuerwehrleute, den sie im Angesicht von Gefahr beweisen, und ihre Fürsorglichkeit gegenüber den Menschen, die sie beschützen.Mit diesem Marsch kann man sehr gutein Konzert eröffnen und die Stimmung von Musikern als auch Zuhörenden heben.

Towards the Future (Vers l’avenir) est une commande de l’Orchestre d’Harmonie des Pompiers de la ville de Nagoya, au Japon, l’occasion des festivités marquant le cinquantième anniversaire de la création de la formation. La première mondiale a eu lieu le 7 février 2009. Elle fut assurée par la formation dédicataire, placée sous la direction de Masuo Nakamura.Cette marche de concert a été composée pour stimuler le moral des pompiers, qui consacrent leur existence sauver des vies. Les lignes mélodiques de l’oeuvre, solennelles et apaisantes, reflètent non seulement leur bravoure lorsqu’ils se trouvent confrontés au danger, mais également la bienveillance qu’ils manifestentenvers les personnes qu’ils protègent. Idéale en ouverture de concert, cette marche inspirera entrain et gaieté ses interprètes et leur auditoire.

Questa marcia da concerto è stata composta in onore, ma anche per incoraggiare e sostenere i vigili del fuoco che salvano le vite dei cittadini, spesso mettendo a rischio la propria incolumit . Le melodie solenni e commoventi al contempo descrivono il coraggio di questi uomini davanti al pericolo e vogliono sottolineare la tenerezza e la dedizione nei confronti delle persone che sono chiamati a salvare.

SKU: MA.EMR-24773

Love Train / Marche Turque / Sentimental Bossa / Take 3 / Westside.

SKU: MA.EMR-24854

Love Train / Marche Turque / Sentimental Bossa / Take 3 / Westside.

SKU: MA.EMR-24612

Love Train / Marche Turque / Sentimental Bossa / Take 3 / Westside.