SKU: BT.DHP-1094805-015

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

“It’s time to play the music. It’s time to light the lights. It’s time to meet the Muppets on the Muppet Show tonight.” These lyrics opened the Muppet Show, which has been broadcast in over 100 countries around the world. The multi-talented Jim Henson was the creative inspiration for the show, developing the characters, providing some of the voices for the puppets and composed the theme song. Now you can bring the lights and music to your stage with this flexible arrangement in five parts with drum kit!

Jetzt tanzen alle Puppen - macht auf der Bühne Licht“ beginnt das mitreißende Titellied der unvergesslichen Muppetshow, die in über 100 Ländern im Fernsehen ausgestrahlt wurde. Jim Henson war zugleich Erfinder der Show, Entwickler der Charaktere, schlüpfte in verschiedene Puppenrollen und komponierte auch die Titelmelodie. Lassen Sie mit dieser Blasorchesterbearbeitung für eine fünfstimmige Besetzung mit Schlagzeug die Puppen tanzen!

Il Muppet Show è stata una trasmissione televisiva ideata dallo statunitense Jim Henson e andata in onda nel paese d’origine dal 1976 al 1981, oltre che in 100 paesi del mondo. I protagonisti sono dei curiosi pupazzi chiamati Muppet, con assonanza delle parole inglesi marionette e puppet. Un arrangiamento per strumentazione variabile a cinque voci della musica di questo programma che ha rivoluzionato il mondo della televisione per bambini.

SKU: CF.SPS75

ISBN 9781491147702. UPC: 680160905201. 9 x 12 inches. Key: F major.

When Hearts Tremble is an emotion packed piece dedicated to musician friends lost all to soon. This beautiful composition by Brant Karrick reflects on the fragility of human existence, joyous memories of loved ones and their effect on everyone around them, and maintaining hope for what the future will hold when all feels lost. This tour de force piece perfectly displays Karrick's polished compositional craft with impeccable scoring, beautiful melodic writing, and exceptional orchestrational color.
While the day-to-day grind of our lives can be filled with overwhelming obligations, goals and commitments, it is sometimes very easy to forget just how precious and fragile life is . It is so easy to get caught up in our own personal feelings and worries that we sometimes don’t realize and appreciate the many blessings we have, especially friendships . On Wednesday, November 18, 2015 the Jefferson High School Band in Jefferson, Georgia lost two of its members to a fatal car accident . The victims were brothers . Music was a constant part of their lives, and the boys were talented percussionists in the marching band . To help with the grieving process the school and community commissioned this piece to celebrate the lives of William and Alex Trimble .As a father, I cannot imagine losing a child, let alone two, and beginning this piece was very difficult as I felt extreme anguish, especially for the parents . But it was decided the piece should primarily reflect the enthusiasm, youthful spirits and positive influence these two young men demonstrated as they were deeply loved by their band mates, community and family . There are four main themes, each representing the feelings and emotions that are certain to occur after a loss of loved ones . The first theme is a short, introductory fanfare, strong and bold, to stand for courage . A second dance-like melody features a liltingly mixed meter to portray a youthful and carefree innocence . This soon changes into a third more song-like, and stately theme intended to provide encouragement as we move forward through life .The middle of the piece includes a soft transition as two snare drummers give voice to the boys, allowing them to thank their friends and assuring them that it will be okay . This moves directly into a slow melody introduced by the saxophones (Alex, the younger brother was also a saxophonist) and is a time for reflection and allows for feelings of sadness at losing beloved friends . However, a second statement of the same theme, now at full volume with a strong percussion cadence, intends to lift the spirits and allows all friends to unite in joyous celebration of life . Both the enthusiastic dance theme and stately lyrical theme return, now in different keys, and work their way toward the highly energetic burst of glorious sound in the short and wild coda . When Hearts Tremble was written to celebrate the joys of youth and life, and should remind us that our friends and loved ones are precious, and we should live each day to bring more joy into the world and into the lives of others .

SKU: CL.012-4705-00

Marking the centennial of World War I, also known as The Great War, this medley highlights seven songs popular during this era: It’s A Long Way To Tipperary, Good Morning, Mr. Zip-Zip-Zip, Roses Of Picardy, How Ya Gonna Keep ‘Em Down On The Farm? Keep The Home Fires Burning, Pack Up Your Troubles In Your Old Kit Bag, and Over There! Perfect for Veteran’s Day, Memorial Day, or any concert situation, and especially well-suited for adult community bands. First class!

SKU: MH.1-59913-054-8

ISBN 9781599130545.

Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.

SKU: HL.44001734

ISBN 9789043112475. UPC: 073999017342. 9.0x12.0x0.138 inches.

The BAND TIME series consists of a number of books containing easy pieces suitable for youth band. BAND TIME Starter is intended for the first year of band playing and includes four-part pieces in many different styles. The difficulty of the pieces increases in parallel with the material covered in the first part of the Look, Listen & Learn method. The first three works, however, are three-part pieces in order to accommodate the limited range of notes available at this stage. The BAND TIME series is suitable for various combinations of instruments provided that the parts are divided in a sensible way (for concert band, fanfare band or brass band). The material for altosaxophone, trombone and baritone/euphonium/bass clarinet is divided into parts 1 and 2 in order to cover all voices using the most popular instruments.

De serie Band Time is ontwikkeld om kinderen vroeg kennis te laten maken met het samenspel in een blaasorkest. Band time Starter maakt dit al in het eerste jaar mogelijk. Deze uitgave bevat vierstemmige stukken in diversestijlen- de eerste drie stukken zijn drie stemmig, aangespast aan de vaardigheden van de beginnende leerling. De moeilijkheidsgraad en de muzikale inhoud zijn gebasseerd op Horen, Lezen & Spelen. In de partituur staatuitgelegd hoe u de serie optimaal benut en hoe de instrumentatie in uw specifieke bezetting het best kan worden toegepast. Op de los verkrijgbare cd worden de stukken door een harmonieorkest voorgespeeld, zodat de leerlingen thuiseen goede indruk krijgen van hoe de stukken klinken. Ze kunnen zelf meespelen of ernaar luisteren. Dit zal de motifatie (en het studieresultaat) bevorderen.

Parallel zu den ersten Stunden Instrumentalunterricht werden die jungen Musiker mit den Stucken dieser Sammlung fur das Spielen im Anfangerorchester motiviert. BAND TIME Starter eignet sich fur das erste Jahr im Blasorchester und enthalt vierstimmige Stucke in vielen verschiedenen Stilen. Der allmahlich fortschreitende Schwierigkeitsgrad entspricht dem Stoff der Blaserschule Horen, lesen und spielen Band 1, kann aber auch gut unabhangig davon eingesetzt werden. Die ersten drei Stucke passen sich mit ihren lediglich drei Stimmen dem noch begrenzten Tonumfang an, uber den die Schuler in diesem Stadium verfugen. Aus dem gleichen Grund weichen manchmaldieselben Stimmen fur unterschiedliche Instrumente leicht voneinander ab. Geringfugige Abweichungen erklaren sich ausserdem aus manchen besonderen Bedingungen bei einem bestimmten Instrument, zum Beispiel schwierige Tonfolgen. Passend zu der Reihe ist eine CD erhaltlich, mit deren Unterstutzung die Schuler zu Hause mit richtiger Orchesterbegleitung spielen konnen. Ein schnellerer Erfolg ist damit gesichert!

L'Obiettivo della collana BAND TIME e quello di motivare i giovani musicisti a suonare in una banda principiante o giovanile. BAND TIME Starter e il suo seguito BAND TIME Expert, come anche i brani natalizi raccolti in BAND TIME Christmas propongono brani in vari generi musicali che seguono il livello di difficolta crescente proposto del metodo Ascolta, leggi & suona (possono essere usati anche separatamente). I brani sono eseguibili gia a partire da un organico di tre o quattro elementi. per ogni collana e disponibile separatamente un CD con gli accompagnamenti orchestrali. Per la lista degli strumenti disponibili visitate il nostro sito.

SKU: BT.DHP-1094775-015

9x12 inches.

COME ONE AND ALL! Come see the great Circus Bamboni! This four movement work, with flexible four part instrumentation (+ Drum Kit), will amaze and charm you like no other. The first movement features the band as it tunes up and prepares for the show. Then the talented trapeze artists make an appearance as they fly through the sky high above the audience. The elephants parade around the ring with their very own Elephant Samba and the clowns follow leaving you in stitches! A thunderous chord and lots of applause bring the show to a breathtaking finale.

Willkommen im Zirkus Bamboni, der sich hier in vier kurzen Sätzen, komponiert für eine vierstimmig variable Besetzung mit Schlagzeug, präsentiert: Im ersten Satz stimmt das Zirkusorchester auf die Vorstellung ein. Dann schwingen die Trapezkünstler zu schwungvoller Musik durch die Zirkuskuppel. Die Elefanten beweisen mit der Elephant Samba Musikalität, bevor die Clowns die Manege in Aufruhr versetzen. Mit einem donnernden Schlussakkord, dem verdienten Applaus, endet die Vorstellung.

Benvenuti al Circo Bamboni che in questa composizione si presenta in quattro brevi movimenti, composti per strumentazione variabile a quattro voci con percussioni. Nel primo movimento l’orchestra intona gli strumenti, mentre nel secondo i trapezisti si esibiscono in volteggi spettacolari. In seguito gli elefanti mostrano la loro musicalit con Elephant Samba, prima che i pagliacci regalino risate e divertimento a tutti. Lo spettacolo si chiude con un potente accordo, il molto meritato applauso finale.

SKU: BT.DHP-0870073-216

Harm Evers showed his true character with this likeable march. With its interesting rhythms and unusual approach, this is sure to be memorable to musicians and audience alike.

Deze opgewekte mars is een van de meest gespeelde composities van Harm Evers. Zangerige melodieën gecombineerd met pittige, syncopische ritmes zijn de hoofdingrediënten van deze mars met een optimistische boodschap.

Sein Temperament bewies Harm Evers mit dieser sympathischen Marschkomposition, die mit ihren interessanten Rhythmen ein wenig aus der Art schlägt und sich so Musikern und Publikum einprägen wird.

En l’honneur de Harm Evers, nous vous recommandons High Spirits, une marche pétillante qui s’inscrit dans la tradition des grandes marches. High Spirits apportera une touche de vivacité tout programme de concert - pour le plus grand plaisir du public.

Harm Evers trasmette la sua grande personalit in questa piacevole marcia caratterizzata da ritmi interessanti e che esce dagli schemi convenzionali. High Spirits coinvolger i musicisti en il pubblico.

SKU: BT.DHP-1064079-010

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

The Golden Age is a programmatic composition in four movements. I Overture For the Netherlands, the seventeenth century was a period of great flourishing in the fields of economy, culture and politics; thus it is called the Golden Age. Overseas trade boomed, and the Dutch East India Company (known as the VOC by the Dutch) was founded and expanded to become a powerful -and, at the time - modern enterprise. II ¡Adiós españoles!(Farewell, Spaniards!) In 1567, the Spanish army invaded, led by the Duke of Alva. There was a fierce resistance against the Spanish tyranny; toward the end of the sixteenth century, the Dutch proclaimed theRepublic. However, the Spanish continued the war. Only with the Treaty of Münster in 1648 did the Dutch get their much sought-after independence. This was also the end of the Eighty Years’ War. III Rembrandt’s Night WatchThe field of culture, particularly literature, painting, sculpture, architecture, the art of printing, and cartography developed fast. It was in the Golden Age that the celebrated painter Rembrandt van Rijn created his famous Night Watch. IV The Admiral Overseas trade entailed the colonization of large areas in Asia, from where precious products that yielded lots of money were brought in. Surrounding countries were also involved in such practices. Colonizers poached on each other’s territories in the literal and figurative sense - in this context the Anglo-Dutch Sea Wars are legendary. The fourth movement starts with the English patriotic song Rule Britannia, after which the Dutch Admiral Michiel de Ruyter makes the English change their tune; one can even hear the roaring of cannons. When the smoke of battle has cleared, a small fragment of a Dutch song about Michiel de Ruyter appears, followed by a fitting closing.

The Golden Age is een programmatische compositie in vier delen. Overtureverklankt de Gouden Eeuw, voor Nederland een periode van grote bloei. Dan volgt ¡Adiós españoles! over het einde van de Tachtigjarige Oorlog.Rembrandt’s Night Watch beschrijft de ontwikkeling op cultureel gebied: in de Gouden Eeuw schilderde Rembrandt van Rijn zijn beroemde Nachtwacht. Deel vier, The Admiral, begint met Rule Britannia,waarna de Nederlandse admiraal Michiel de Ruyter de Engelsen een toontje lager laat zingen, er is zelfs kanongebulder te horen. Dan klinkt een fragment van het Nederlandse liedje dat aan Michiel de Ruyter is gewijd, waarna een passendslot volgt.

The Golden Age ist eine programmatische Komposition in vier Sätzen über das so genannte “Goldene Zeitalter“ in der Geschichte der Niederlande. In dieser Periode erlebte das Land eine Blütezeit des (Übersee-)Handels, der Kultur und Politik, es befreite sich von der spanischen Herrschaft, brachte Kunstwerke wie Rembrandt’s Nachtwache hervor und entwickelte sich zu einer Kolonialmacht. Die Aufmerksamkeit der Zuhörer ist bei Kees Schoonenbeeks spannender musikalischer Geschichtsstunde garantiert!

Après une guerre qui dura 80 ans, l'Espagne reconnut finalement l'indépendance des Provinces-Unies néerlandaises, qui devinrent alors l’une des plus importantes puissances maritimes et économiques du XVIIe siècle. Cette période est connue sous le nom de Siècle d’or (The Golden Age) et correspond une phase de développement exceptionnel des Pays-Bas tant sur le plan colonial et militaire que sur le plan culturel, intellectuel et artistique.

Dopo una guerra che durò 80 anni, la Spagna riconobbe l’indipendenza delle Province-Unite olandesi che divennero potenze marittime ed economiche del XVII secolo. Questo periodo è conosciuto con il nome di Secolo d’Oro (The Golden Age) e corrisponde ad una fase di sviluppo eccezionale dei Paesi Bassi sia sul piano coloniale e militare, sia sul piano culturale, intellettuale e artistico.