SKU: YM.GTW01101388

ISBN 9784636110005. 8.75 x 12 inches.

The ultimate full score medley of beautiful melodies from the Studio Ghibli film Princess Mononoke (1997, dir. Hayao Miyazaki), arranged for concert band in the series: New Sounds in Brass (NSB). Grade 3; Duration: approx.8'50; Composed by Joe Hisaishi; Arranged by Takashi Hoshide. Arranger Takashi Hoshide says, I have selected beautiful melodies from the soundtrack of 'Princess Mononoke' (1997, directed by Hayao Miyazaki) and arranged them into a medley. What can be said about these songs as a whole is that they combine a grand continental scale with the delicacy that reflects Japanese emotions. Since there are no upbeat songs in this selection, I had to work hard on the arrangement, but this allowed for creating contrasts and transitions between each scene in the performance. 'Ashitaka Sekki (English title: The Legend of Ashitaka)' - 'Sekki' means a story that is not recorded but passed down orally. In this anime, this can be considered a sub-main theme. The song starts with a feeling that the story is about to begin and, once the theme kicks in, aim for a grand performance to convey its scale. 'Encounter' - This is the music that plays during the scene where the protagonist Ashitaka meets San. Interestingly, the motif of the main theme 'Princess Mononoke' is used in this melody. Here, let's pursue the shifts in the timbre of individual phrases, creating a beautiful and aesthetic soundscape. 'Princess Mononoke' - This is the main title of the anime. The melody line is carried by horns and trumpets.

SKU: HL.49021121

ISBN 9790001119214.

Flote in C (Oboe oder Klarinette in C), Klarinette in Es, Klarinette I und II in B, Flugelhorn I und II in B, Horn I und II in Es, Trompete I und II in B, Tenorhorn I, II und III in B, Posaune (Bassschlussel), Posaune (Violinschlussel), Bariton (Bassschlussel), Bariton (Violinschlussel), Tuba (Bassschlussel), Tuba (Violinschlussel), Schlagzeug.

SKU: HL.49021120

ISBN 9790001119207.

Flote in C (Oboe oder Klarinette in C), Klarinette in Es, Klarinette I und II in B, Flugelhorn I und II in B, Horn I und II in Es, Trompete I und II in B, Tenorhorn I, II und III in B, Posaune (Bassschlussel), Posaune (Violinschlussel), Bariton (Bassschlussel), Bariton (Violinschlussel), Tuba (Bassschlussel), Tuba (Violinschlussel), Schlagzeug.

SKU: HL.49021119

ISBN 9790001119191.

Flote in C (Oboe oder Klarinette in C), Klarinette in Es, Klarinette I und II in B, Flugelhorn I und II in B, Horn I und II in Es, Trompete I und II in B, Tenorhorn I, II und III in B, Posaune (Bassschlussel), Posaune (Violinschlussel), Bariton (Bassschlussel), Bariton (Violinschlussel), Tuba (Bassschlussel), Tuba (Violinschlussel), Schlagzeug.

SKU: HL.49013373

ISBN 9790001119122.

Flote in C (Oboe oder Klarinette in C), Klarinette in Es, Klarinette I und II in B, Flugelhorn I und II in B, Horn I und II in Es, Trompete I und II in B, Tenorhorn I, II und III in B, Posaune (Bassschlussel), Posaune (Violinschlussel), Bariton (Bassschlussel), Bariton (Violinschlussel), Tuba (Bassschlussel), Tuba (Violinschlussel), Schlagzeug.

SKU: BT.AMP-376-140

9x12 inches. English-German-French-Dutch.

The well-known 16th Century canon by Thomas Tallis is as effective as it is simple. This arrangement includes four verses of the melody: the first in the form of canon; the second for brass; the third for woodwind and the fourth for the entire orchestra. Philip Sparke’s arrangement is also well suited for incomplete brass ensembles.

Eenvoudig, maar met een bijzondere uitwerking. Dat is deze bekende canon van Thomas Tallis uit de zestiende eeuw. Deze bewerking geeft vier strofen van het lied: de eerste in de vorm van een canon, de tweede voor de koperblazers, de derde voor de houtblazers en de vierde voor het gehele orkest. Ook wanneer u met een onvolledige bezetting moet werken, is dit arrangement van Philip Sparke goed speelbaar.

Der bekannte Canon von Thomas Tallis aus dem 16. Jahrhundert ist ein ebenso einfaches wie wirkungsvolles Stück. Diese Bearbeitung präsentiert vier Strophen des Liedes: die erste in Kanonform, die zweite für die Blechbläser, die dritte für dieHolzbläser und die vierte für das gesamte Orchester. Philip Sparkes Arrangement ist auch für unvollständig besetzte Blasorchester gut spielbar.

Cet arrangement pour orchestre d’harmonie du célèbre Canon de Thomas Tallis - qui met en musique le psaume 67, God Grant we Grace - comprend quatre couplets de ce cantique. Le premier est en forme de canon, le deuxième est interprété par les cuivres, le troisième par les bois et le dernier est repris par l’orchestre entier. Le somptueux arrangement réalisé par Philip Sparke conviendra toutes les formations, même restreintes.

Questo arrangiamento per banda del celebre Canone del XVI secolo di Thomas Tallis che mette in musica il Salmo 67, God Grant we Grace, presenta quattro strofe estratte da questo cantico. La prima è proposta sotto forma di canone, la seconda affi data agli ottoni, la terza ai legni, e l’ultima è ripresa dall’intero organico. Il sontuoso arrangiamento di Philip Sparke si presta in modo ottimale a essere eseguito da ogni tipo di organico, anche ridotto.

SKU: CF.CPS89F

ISBN 9780825870453. UPC: 798408070458.

As the title implies, Canonic Fantasy is based on a harmonic canon that forms the basis for this excellent new concert band work. It begins slowly and dramatically and then weaves into a bold and dynamic allegro. Alert your contest list committee about this piece - it has all the makings of standard fare for contest/festival performance!

SKU: CF.YPS250

ISBN 9781491161333. UPC: 680160919925.

Mount Vernon Square derives its title from the location of the Peabody Conservatory of Music in Baltimore, Maryland. It was here that the composer Joseph Compello took his first classes in Music Theory from Professor Haven Hensler, to whom this march is dedicated. After hearing this march performed on piano as part of final exam requirements in a Music Theory course, Professor Hensler encouraged further exploration of music composition, leading Compello into a prolific career writing pieces like this theme, now years later arranged for full band as a concert march. Performance Notes The form of the march is a standard A-BB-Trio-C-A. Melodically, much of the march is based on the figure contained in mm. 8 and 9. Tempo, articulation, and dynamics in a standard march style are essential to a successful interpretation. Pay particular attention to dynamics in the second strain at m. 41. Strive for a legato diminuendo at the transition in mm. 63-65. The melody in the Trio (m. 70) will also require smooth articulation from low brass and woodwinds. The Euphonium counter-melody will be played only during the repeat of the Trio. The Breakup Strain (m. 87) is, of course, powerfully marcato as is the reprise of the first theme at m. 109.
Mount Vernon Square derives its title from the location of the Peabody Conservatory of Music in Baltimore, Maryland. It was here that the composer Joseph Compello took his first classes in Music Theory from Professor Haven Hensler, to whom this march is dedicated. After hearing this march performed on piano as part of final exam requirements in a Music Theory course, Professor Hensler encouraged further exploration of music composition, leading Compello into a prolific career writing pieces like this theme, now years later arranged for full band as a concert march.Performance NotesThe form of the march is a standard A-BB-Trio-C-A. Melodically, much of the march is based on the figure contained in mm. 8 and 9. Tempo, articulation, and dynamics in a standard march style are essential to a successful interpretation. Pay particular attention to dynamics in the second strain at m. 41. Strive for a legato diminuendo at the transition in mm. 63-65. The melody in the Trio (m. 70) will also require smooth articulation from low brass and woodwinds. The Euphonium counter-melody will be played only during the repeat of the Trio. The Breakup Strain (m. 87) is, of course, powerfully marcato as is the reprise of the first theme at m. 109.

SKU: BT.AMP-417-140

English-German-French-Dutch.

Second to None is a perfectly suitable title for this work, though it actually refers to “Nulli Secundus”, the motto of the British Corps of Army Music, who gave the commission to Philip Sparke. The piece opens with a fanfare, followed by two short quotes from two of the Corp’s own marches and a festive Vivace. A more legato central section creates a nice contrast before the work closes with the opening fanfare. A perfect affair!

De titel Second to None past heel goed bij dit werk, maar verwijst eigenlijk naar ‘Nulli Secundus’, het motto van British Army Corps of Music, het orkest dat Philip Sparke de opdracht voor dit werk gaf. Second to None opent met een fanfare. Daarna volgen twee korte citaten uit twee van de eigen marsen van het orkest en een feestelijke Vivace. Een meer legato deel creëert een mooi contrast voordat het werk wordt afgesloten met de openingsfanfare. Van begin tot einde prachtig!

Second to None (Unübertroffen“) wurde zum 20-jährigen Jubiläum der britischen Armee komponiert. Das feierliche Werk honoriert die musikalische Tradition des Corps, indem es auf einige seiner eigenen berühmten Märsche, wie beispielsweise The Corps of Army Music Slow March (Greg Machin) und The Music Makers (Ian Mitchell), anspielt. Second to None kann auch in einer kürzeren Fassung gespielt werden und ist ein ideales Erönungsstück für jedes festliche Konzert.

Second to None est un titre qui convient parfaitement ce morceau, même s’il fait en fait référence « Nulli Secundus », la devise du British Corps of Army Music, l'orchestre qui a fait la commande auprès de Philip Sparke. La pièce commence par une fanfare, suivie de deux citations courtes de deux de leurs propres marches, et un Vivace festif. Une section plus legato crée un beau contraste avant la fin où la fanfare du début est répétée. Parfait !

Second to None (Secondo a nessuno) è un titolo perfetto per questo lavoro, anche se in realt si riferisce a “Nulli Secundus”, il motto del British Corps of Army Music, che lo ha commissionato a Philip Sparke. Il brano si apre con una fanfara, seguita da due brevi citazioni, prese da due delle marce del Corpo e da un gioioso Vivace. Una sezione centrale, che da più spazio al legato, crea un piacevole contrasto con la fanfara iniziale prima della chiusura del brano. Un connubio perfetto!