Matériel : Conducteur
Voir toutes les partitions de Gustav Holst
SKU: CL.024-4990-01
This timeless hymn by Gustav Holst was originally written as Jupiter in a movement of The Planets. He later used the beautiful melody as source material as he set the poetry of Sir Cecil Spring Rice to music. The hymn is now a beloved British standard widely known as I Vow To Thee, My Country. Melodically and harmonically rich, this stunning arrangement for band is appropriate for concert, festival and ceremonial programming. The absolute finest in music for the young concert band!
SKU: CL.011-3361-01
This impressive patriotic medley is an outstanding selection for the up-and-coming young band or smaller ensemble with limited instrumentation. Incorporating America, My Country, Tis of Thee, and God of Our Fathers, this energetic work has limited ranges and technical demands which make it an excellent choice as both a teaching tool and concert selection. Highly recommended!
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: CL.011-4151-01
This patriotic toe-tapper is the perfect march for any concert, festival, or contest performance. Features America the Beautiful and America (My Country ‘Tis Of Thee) along with snippets of other patriotic favorites. Well suited for developing bands, it’s an excellent teaching tool for march style, as well as a guaranteed audience hit.
SKU: CL.026-4666-01
About Build-A-Band Series
The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)
SKU: CF.PPS42F
ISBN 9781491147757. UPC: 680160905256. 9 x 12 inches.
Colonial March is a stately British style march for beginning bands. George Washington served in the British colonial army prior to the American Revolution when he became the colonies' Commander-in-Chief and later the first President of the new nation. Two melodies, Yankee Doodle and America (My Country 'Tis of Thee or God Save the King) were known to both the British and American armies and are incorporated in this precious march for the youngest of students.
SKU: AP.44206
UPC: 038081498294. English.
Full of rhythmic energy and contrasts, you will find this pairing of two popular patriotic songs, My Country, 'Tis of Thee and America the Beautiful, appealing to players and audiences. Eventually, every section gets to play the melody, and it is full of passages which lend to teaching stylistic march technique. Whether a concert, festival, or patriotic event, this march provides material that will engage players and listeners with a flag-waving moment. (2:50).
SKU: AP.44206S
UPC: 038081498300. English.
SKU: CL.023-4811-01
Trans-America March, composed in classic style, is inspired by the westward development of the United States of America. Beginning with a quote from the opening phrase of The Star Spangled Banner, we are taken on a journey westward across the great divide. The first strain ascends melodically to the peak in center of the phrase. The melody then descends to the other side of the great divide representing the journey across the country from sea to shining sea. The trio is based on America, My Country Tis Of Thee, leading to a rousing conclusion. Perfect for patriotic programming or in any concert/festival setting, Trans-America March is a wonderful choice for your next performance.
SKU: CL.011-4884-01
Songs Of America contains arrangements of six patriotic classics, perfect for performances honoring veterans, Memorial Day, Independence Day, or any occasion requiring patriotic music. Included are America (My Country, ‘Tis Of Thee), America, The Beautiful, The Stars And Stripes Forever (trio), The Army Goes Rolling Along, Anchors Aweigh, and The Marines Hymn. Each arrangement includes an optional brief introduction, and may be used individually or collectively. Very straightforward in presentation, these easy-to-prepare patriotic songs will be perfect for many performance situations. Honor America by including these Songs Of America!.
SKU: XC.MCB2001
UPC: 812598034011. 9 x 12 inches.
This new addition of Arthur Pryor’s Heart of America march is beautifully engraved and perfect for school or community ensembles. Brilliantly American, this march has the feeling of music from the roaring 20’s and many quotes from America (My Country, Tis of Thee).
SKU: XC.MCB2001FS
UPC: 812598033212. 9 x 12 inches.
SKU: HL.14007007
ISBN 9780711927094. UPC: 752187853176.
Fifty best-loved classical themes skilfully arranged for all keyboards by Daniel Scott. Includes suggested registrations and rhythms.
SKU: PR.16500100F
ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.
Commissione d for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.
