Various Themes on Fa-La-La

When Giacoma wrote his 'Tosca Fantasia' in 1900 he was serving in the Italian army as a Clarinetist and band master. His paraphrase is totally in tune with the times since music lovers were wild about chamber-music arrangements of large popular works for performance in concert or at home.In his 'Tosca Fantasia ' Giacoma uses various themes from Puccini's opera including the famous Clarinet solo that precedes Cavaradossi's aria 'E lucevan le stelle.' The solo instrument shifts very effectively between bel canto vocal lines that allow the clarinet to fully revel in its beauty and the virtuoso arabesques thatcan be performed so compellingly on the clarinet.

Take the lead and enjoy playing along to your favourite TV tracks. The book contains carefully selected and edited top line arrangements and chord symbols. The CD contains full backing tracks professionally arranged and recorded and full demonstration tracks to help you learn the pieces. Take The Lead is an integrated series. In each edition all the songs are in the same concert pitch key so the different instruments can play together. Suitable for intermediate players.

Learn to play your favourite Film & T.V Themes with backing tracks. The book contains carefully selected and edited piano arrangements and chord symbols. The CD contains full backing tracks professionally arranged and recorded and full demonstration tracks to help you learn the songs. Discover The Lead is an integrated series of easy arrangements. In each edition all the songs are in the same concert pitch key so the different instruments can play together. Suitable for players Grades 1-2 standard.

Learn to play your favourite Film & T.V Themes with backing tracks. The book contains carefully selected and edited top line arrangements and chord symbols. Also includes fingering charts and a guide to notation. The CD contains full backing tracks professionally arranged and recorded and full demonstration tracks to help you learn the songs. Discover The Lead is an integrated series of easy arrangements. In each edition all the songs are in the same concert pitch key so the different instruments can play together. Suitable for players Grades 1-2 standard.

Learn to play your favourite Film & T.V Themes with backing tracks. The book contains carefully selected and edited top line arrangements and chord symbols. Also includes fingering charts and a guide to notation. The CD contains full backing tracks professionally arranged and recorded and full demonstration tracks to help you learn the songs. Discover The Lead is an integrated series of easy arrangements. In each edition all the songs are in the same concert pitch key so the different instruments can play together. Suitable for players Grades 1-2 standard.

Learn to play your favourite Film & T.V Themes with backing tracks. The book contains carefully selected and edited top line arrangements and chord symbols. Also includes fingering charts and a guide to notation. The CD contains full backing tracks professionally arranged and recorded and full demonstration tracks to help you learn the songs. Discover The Lead is an integrated series of easy arrangements. In each edition all the songs are in the same concert pitch key so the different instruments can play together. Suitable for players Grades 1-2 standard.

Born in Havana Cuba in 1895 Ernesto Lecuona is arguably Cuba's greatest serious composer. He was a gifted pianist who wrote hundreds of songs and piano works before he died in 1963. Most of his music is composed in a rich authentic Cuban style. The most famous of his works is Malagueña the sixth movement of his Suite Andalucia for solo piano which was first published in 1928. Malagueña has been recorded as a popular song (with added lyrics) as a serious piano work (even by Lecuona himself in the 1950's) and also as a jazz standard (Bill Holman's arrangement for the Stan Kenton Orchestra in the early 1960's.) Over the years it has been arranged many times for variousother mediums ranging from symphony orchestra to field arrangements for drum and bugle corps.In 1976 James Barnes arranged Malagueña for the University of Kansas Marching Band. A few years later with permission from the publisher he expanded this original arrangement into a full work for symphonic band called Prelude Fantasy and Fandango on Lecuona's Malagueña. After several performances in the spring of 1978 (most notably at the MENC Convention in Colorado Springs) this work along with over 200 other Barnes manuscripts lay fallow in the KU Band Library. While packing up his office belongings when he retired from The University of Kansas in 2015 Barnes came across this long languishing Prelude Fantasy and Fandango which remained in condensed score. In the fall of 2016 he completely re-composed the opening portion of the work reduced the number of required percussion and disposed of the two harps in his 1978 version. This new setting features evocative thinly scored extended solo passages for clarinet bassoon and flute before the full wind band concludes the work with a powerful dramatic setting of the main themes of Lecuona's masterful Malagueña.

This fantasy tells the story of Oregon one of Americas north-western states. Traveling by train on the Northern Pacific Railroad the listener is taken through the fascinating Oregon landscape. Indians cowboys golddiggers and hooded wagons will file past on this adventurous journey. The piece has some similarities with a soundtrack of a movie. Various melodies which could be the main themes of a movie pass the review.The piece begins in a slow movement introducing the first theme in minor. Then we hear in the following fast movement the trombones imitate the train whistling the steam-flute. We hear the characteristic minor theme again but now in differentvariants(also in major). The rythmic structure of 'western' stile and rock succeed each other. This is leading to the slow movement where the signals of horns and trumpets introduce a wonderful vocal melody. After this characteristic melody the fast movement appears shortly again the trombones whistling the steam-flute again (now in major). We hear also some musical elements that plays a part in the following Presto. Barchanges jazzy chords interesting rhytmic patterns (with bongo) and an original theme are the characteristics of this Presto. After this the horns announce the last section of the piece. Interesting is the fact that we hear in this Allegro section a variant of the vocal melody in the slow movement. Also the Presto theme returns shortly followed by the Allargando which is a grand characteristic end of a soundtrack. The movie of our travelling fantasy has come to an end.

Fantasy on Themes by Beethoven-A powerful work for the symphonic band Ode to the Spirit of Man is based on thematic material taken from the fourth movement of Beethoven's Symphony No. 9 and developed into a fantasy of kaleidoscopic nature. Theopening is a joyful expression of the spirit of freedom and is based on the composer's own themes derived from Beethoven's music. Throughout the work various themes from the symphony are interwoven including Alla Marcia Scherzo Andante maestoso and finally the uplifting Ode to Joy. Dur: 5:15

This composition in two parts is one of the first successful works Jacob de Haan published for Brass Band. Somewhat under the influence of Ted Huggen’s Choral and Rock Out which was an overwhelming success at the time the still very young Jacob de Haan wrote this composition. The first part (Air) exists of a choral melody with baroque grace notes supported by a pop rhythm in the drums. The second part (Crazy Music) is a swinging bossa nova in which various instrument groups present themselves in the continuously varying themes. The famous Black Dycke Mills Band contributed to the success of Crazy Music in the Air by regularly puttingthe piece on its tour programmes.

7 European Salon Pieces. Par POPP WILHELM. In the 19th Century nationalist themes came into fashion. Composers drew on songs and dances from their native lands, working them into paraphrased adaptations, pot pourri arrangements and sets of variations or incorporating folk elements from various cultures in their compositions. Flautist Wilhelm Popp (1828-1902), who wrote music for his instrument at every level of difficulty, also took up this popular trend. In this collection seven of his ‘easily playable’ compositions have been chosen with musical links to different European countries. Here again Popp shows his ability to distil the essence from musical styles and fashions of his time, setting lyrical and virtuoso passages so well for the instrument that their effectiveness far outweighs any difficulties. The popularity of his pieces for tuition purposes, school concerts or youth music competitions remains undiminished to this day. This edition is essentially based on the first printed versions of these pieces – with just a small number of printing errors and inconsistencies corrected without comment./ Répertoire / Flûte Traversière et Piano

Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda