Format : Score and Parts
SKU: AP.50331S
ISBN 9781470658977. UPC: 038081576237. English.
March to Nowhere, by the renowned and brilliant Czech composer Václav Nelhýbel, was originally published in 1976. This arrangement, by Chris M. Bernotas, has been scored for intermediate-level bands as the perfect vehicle to introduce students to this significant and historic composer. The work's unique character and intriguing musical lines and textures will captivate your students. (3:40).
SKU: AP.50331
ISBN 9781470658960. UPC: 038081576220. English.
SKU: AP.35854
ISBN 9780739080443. UPC: 038081400501. English. Tim Hayden.
As Nochebuena (Christmas Eve) approaches, all of the villagers celebrate the wonderful traditions of Las Posadas---from the nightly candlelit processions to the breaking of the piñata. But young Alicia is troubled, as she has no gift to present in the plaza on Christmas Eve. She learns that giving from her heart is magical, as her lowly gift blossoms into the fiery poinsettia plant. This 20-minute mini-musical will captivate your performers and audiences alike. Options given for sacred performances. Features several Spanish words and short phrases. Titles: Fiesta! * Is There Any Room? * The Piñata Song * What Can I Give? * March of the Children. Teacher's Handbook includes reproducible pages.
SKU: AP.MBM04014C
UPC: 654979071136. English.
Everyone will remember this captivating tune from Van Morrison. Perfect for either on the field or in the stands, this hip arrangement from Shane Porter really satisfies. (1:49).
SKU: BT.DHP-1053856-020
9x12 inches. English-German-French-Dutch.
A characteristic of many Russian folksongs is the emotion that they contain - sometimes exceptionally fierce, sometimes, in contrast, resigned and melancholic. This makes the music captivating and gives it its special, distinctive atmosphere. The same can also be said for From Russia with Love, in which Roland Kernen has made use of three beautiful Russian love songs. In the cheerful and stirring Kalinka, the singer tells of a girl whom he fell head over heals in love with, so much so that she is always on his mind. Lutshje Bulo is the story of a man who wants to break up with his girlfriend and in Otschi Tschornije attention is focused on a dangerous woman who can seduce many menwith her piercing black eyes. Kenmerkend voor veel Russische volksliedjes is de emotie die erin ligt. Ze maakt deze muziek boeiend en creëert een bijzondere sfeer. Zo ook in From Russia with Love, waarin Roland Kernen drie liefdesliedjes verwerkte. In hetopzwepende Kalinka vertelt de zanger over een meisje dat hem het hoofd op hol brengt. Lutshje Bulo is het verhaal van een man die juist met zijn vriendin wil breken en in Otschi Tschornije staat een gevaarlijkevrouw centraal die met haar gitzwarte ogen vele mannen weet te verleiden.Ein typisches Merkmal zahlreicher russischer Volkslieder ist ihre Gefühlstiefe: Zuweilen sind sie außerordentlich heftig, dann aber wieder resigniert und melancholisch. Diese Eigenschaft macht die Musik so reizvoll und verleiht ihr ihre besondere, unverwechselbare Atmosphäre. Dasselbe gilt auch für das Medley From Russia with Love, in welchem Roland Kernen drei Liebeslieder verwendete. Sie erzählen von frisch Verliebten, von unglücklicher und von gefährlicher Liebe. Ein absolut verführerisches Stück!Les chants traditionnels russes sont bouleversants d’émotions. Tourbillonnants de fougue ou, au contraire, languissants et mélancoliques, ils reflètent l’esprit et le caractère d’un peuple et fascinent par la puissante expression des sentiments. From Russia with Love (“Tendres pensées de Russieâ€) de Roland Kernen s’inscrit dans cette tradition en reprenant trois chants d’amour russes : Kalinka, Lutshje Bulo et Otschi Tschornije. I canti tradizionali russi traboccano di emozioni. Pieni di foga, o al contrario, languidi e malinconici, riflettono lo spirito ed il carattere in un intero popolo e affascinano per la potente espressione dei sentimenti. From Russia with Love di Roland Kernen s’iscrive in questa tradizione e riprende tre canti d’amore russi: Kalinka, Lutshje Bulo e Otschi Tschornije.
SKU: BT.DHP-1084362-120
Kickoff is a short but powerful opening work. An attractive theme,a beautiful counter-melody, a driving bass motif and energeticpercussion are the ingredients of this composition. A fantastic way tokick off any concert. Kickoff is een kort openingswerk. Een aansprekend thema, een mooie tegenstem, een stuwend basmotief en spetterend slagwerk zijn de ingrediënten. Het thema komt naar voren in statige vorm, met een indrukwekkende tegenstem. Dangaat het werk over in een snelle beweging, met de basstemmen en het slagwerk in een belangrijke rol. Daarboven wordt de melodie uitgespreid onder begeleiding van ritmische akkoorden en wordt het thema afgewisseld door een tegenstemin een vraag-en-antwoordspel. Na een korte break wordt dit alles herhaald, waarna Kickoff besluit met het kort scanderen van het basmotief.Kickoff ist ein kurzes, spritziges Eröffnungswerk des Holländers John Blanken. Ein ansprechendes Thema, eine schöne Gegenstimme, die sich im Mittelteil in einem kurzweiligen Frage-und-Antwort- Spiel“ mit dem Thema abwechselt, und ein schmetterndes Schlagzeug sind die Zutaten zu diesem Stück. Ein Knalleffekt zu Anfang des Konzerts, der Ihnen die geneigte Aufmerksamkeit des Publikums bis zum Schluss garantiert! Kickoff de John Blanken est une pièce d’ouverture courte mais énergique. Le thème est pétillant, le contrechant délicieusement charmant, la ligne de basse est toujours en mouvement et les percussions puissants. De quoi captiver l’attention du public dès les premières notes !
SKU: BT.DHP-1053856-120
SKU: BT.DHP-1084362-020
SKU: BT.CMP-0034-95-020
Captivated by the rolling hills, majestic horse farms and beautiful horses of the Central Kentucky Bluegrass region, James Curnow has named this exciting overture after one of the most scenic areas near his home. After a fanfare opening, the Percussion section provides high energy for the main theme. A contrasting middle section showcases the expressive abilities of your ensemble. With a return of the main theme, momentum builds steadily to the exciting conclusion.Exhilarating!Überwältigt von der Schönheit der sanften Hügel, prächtigen Pferdefarmen und edlen Pferden in der so genannten Bluegrass Region in Kentucky, benannte James Curnow diese spannende Ouvertüre nach einer der malerischsten Landschaften seiner Heimatregion. Nach der einleitenden Fanfare bereitet das Schlagzeug energievoll auf das Hauptthema vor. Im kontrastreichen Mittelteil kann Ihr Ensemble all seine Ausdrucksmöglichkeiten entfalten. Mit der Rückkehr zum Hauptthema nimmt die Musik stetig an Schwung und treibender Kraft hin zum aufregenden Schluss zu. Sehr belebend!
SKU: BT.CMP-0034-95-120
SKU: CL.012-3410-01
From the powerful opening statement to the full and glorious ending, this new and spectacular rendition of our national anthem will captivate your audience's attention right from the very start. A solid approach to scoring allows this creative setting to be highly suitable for all occasions. In addition, the optional parts for both full choir and organ make this arrangement of our nation's song a special choice for that district band and choir festival. Incredibly satisfying and strongly recommended!
About Heritage of the March
Full-sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style
SKU: BT.DHP-1043573-060
English-German-French-Dutch.
Teike is een van de grootste componisten van marsmuziek, vooral vanwege zijn traditionele marsen Alte Kameraden en Graf Zeppelin. Beide marsen zijn wereldwijd bekend en worden vaak gespeeld, dankzij hun prachtige en pakkende melodieën.De mars Graf Zeppelin is een eerbetoon aan Ferdinand Graf von Zeppelin, de beroemde Duitse maker van luchtschepen, die in de tijd van Teike leefde. Manuel en Gerd Huber maakten van dit stuk een fraaie accordeonbewerking.Carl Teike wurde im 1864 in Altdamm geboren. Später zog er mit seiner Familie in die Nähe von Stettin, wo er viele Militärmärsche kennen lernte, die ihn in seinem späteren Leben inspirieren sollten. Teike zählt insbesondere wegen seiner Traditionsmärsche Alte Kameraden und Graf Zeppelin zu den besten Marschkomponisten überhaupt. Beide Märsche sind auf der ganzen Welt bekannt und werden dank ihrer schönen, eingängigen Melodien oft gespielt.Der Marsch Graf Zeppelin ist eine Hommage an den großen deutschen Luftschiffkonstrukteur Ferdinand Graf von Zeppelin, der zu Lebzeiten Teikes seine bekannten Luftschiffe baute. Gerd Huber schuf eine gelungene Bearbeitung diesesStückes für Akkordeonorchester. Carl Teike est né en 1864 Altdamm en Allemagne. Dès son plus jeune ge, il se passionne pour les marches militaires dont il s’inspirera pour ses futures compositions. Carl Teike est l’un des plus grands compositeurs de marches. Il est notamment l’auteur de deux marches traditionnelles célèbres dans le monde entier : Alte Kameraden et Graf Zeppelin en hommage au célèbre constructeur de dirigeables allemand Ferdinand Graf von Zeppelin. Gerd et Manuel Huber en ont réalisé un arrangement élégant et captivant par la beauté des mélodies.
SKU: AP.48188
UPC: 038081554976. English.
Alfred Reed needs no introduction for those who admire his distinguished concert band works. This arrangement for concert band draws from five movements of his original 28 composed for brass quintet based on London Bridge Is Falling Down. Included are: Statement, Waltz, March Fo(u)rth!, A Little Funeral Music, Please (Eine Kleine Trauermusik), and Finale. A demonstration of compositional techniques practiced during the past three centuries, the work is filled with captivating and highly musical moments. Even though players will encounter a few changes in tonal centers, meters, and tempo throughout, there is not much that would get in the way of having a fun experience learning and performing. (2:45).
SKU: PR.416414230
ISBN 9781598066630. UPC: 680160602087. 9x12 inches.
Colonnade is James Matheson’s intriguing response to the Albany Symphony’s commission to create a work inspired by the NY State Board of Education Building, designed by the renowned architect Rafael Guastavino. Matheson explains that “A colonnade acts as a metaphor for the tension between knowledge and perception. The columns are the same height and equidistant from each other; while the mind understands this fully, there exists no place from which one can perceive this – the columns always appear to be of uneven height and spacing. If one then adds motion to perspective, identical columns acquire elasticity, and begin to change kaleidoscopically – they shrink, grow, become closer, and then further apart.†This structural paradox is given musical life in the outer sections of Colonnade, while the long, arching middle section is inspired by the vaulted ceiling of one of the building’s largest rooms, enhancing the structure’s spacious openness and lightness.Colonnade is inspired by Albany’s majestic New York State Board of Education Building, and written on a commission from the Albany Symphony Orchestra. It was an intriguing task, in part because in order to accept the commission I had to agree to write a work “inspired by†a building I had not yet seen. Thisproblem was compounded by the fact that, for me, the very notion of extra-musical inspiration is a complex one, particularly with respect to literary or visual sources. I generally find ideas and abstracted notions more generative of musical ideas than specific ones (a poem, an experience, a painting). So when I went to seeand tour the building, I sought to identify fundamental formal aspects of the building which I could process into musical ideas, and would then be linked to the building through a sense of formal relationship. In theend, two characteristics of the building stood out as noteworthy and undiminished by time (compared with, for instance, the building’s rotunda, which contains a series of quaintly outdated allegorical paintings): theexterior colonnade and a beautiful interior vaulted ceiling, designed by Rafael Guastavino.For me, a colonnade acts as a metaphor for the tension between knowledge and perception. We all know, for instance, that the columns are of the same height and are equidistant from each other. Nevertheless, while the mind understands this fully, it is also the case that there exists no place – no standpoint or viewpoint – anywhere in the universe – from which one can perceive this; the columns always appear to be of uneven height and spacing. If one then adds motion to perspective – a walk along the colonnade, for instance – the fixed, even, rigidly identical columns acquire elasticity, and begin to change kaleidoscopically – they shrink, grow, become closer, and then further apart. Further, the detail of the building’s façade behind the colonnadeshifts into and out of visibility, with different portions obscured by the columns from each vantage point. These considerations underlie the outer sections of Colonnade, in which a continuously repeated, continuously varied rising figure – suggestive of a column – dominates. The iterations of this elastic, evolvingfigure are interspersed with other music – suggestive of the building’s façade. The second feature of the building that caught my attention was the vaulted ceiling, designed by Guastavino,of one of the building’s largest rooms. The ceiling enhances the spaciousness of the room, giving it an openness and lightness that is quite captivating. The middle section of Colonnade has this openness at its core, and is dominated by long, arching lines that, to me, suggest the refined beauty of this ceiling.World premiere March 8, 2003; Albany Symphony Orchestra conducted by David Alan Miller.
SKU: PR.41641423L
UPC: 680160602094. 11 x 14 inches.
Colonnade is inspired by Albanys majestic New York State Board of Education Building, and written on a commission from the Albany Symphony Orchestra. It was an intriguing task, in part because in order to accept the commission I had to agree to write a work inspired by a building I had not yet seen. This problem was compounded by the fact that, for me, the very notion of extra-musical inspiration is a complex one, particularly with respect to literary or visual sources. I generally find ideas and abstracted notions more generative of musical ideas than specific ones (a poem, an experience, a painting). So when I went to see and tour the building, I sought to identify fundamental formal aspects of the building which I could process into musical ideas, and would then be linked to the building through a sense of formal relationship. In the end, two characteristics of the building stood out as noteworthy and undiminished by time (compared with, for instance, the buildings rotunda, which contains a series of quaintly outdated allegorical paintings): the exterior colonnade and a beautiful interior vaulted ceiling, designed by Rafael Guastavino. For me, a colonnade acts as a metaphor for the tension between knowledge and perception. We all know, for instance, that the columns are of the same height and are equidistant from each other. Nevertheless, while the mind understands this fully, it is also the case that there exists no place no standpoint or viewpoint anywhere in the universe from which one can perceive this; the columns always appear to be of uneven height and spacing. If one then adds motion to perspective a walk along the colonnade, for instance the fixed, even, rigidly identical columns acquire elasticity, and begin to change kaleidoscopically they shrink, grow, become closer, and then further apart. Further, the detail of the buildings facade behind the colonnade shifts into and out of visibility, with different portions obscured by the columns from each vantage point. These considerations underlie the outer sections of Colonnade, in which a continuously repeated, continuously varied rising figure suggestive of a column dominates. The iterations of this elastic, evolving figure are interspersed with other music suggestive of the buildings facade. The second feature of the building that caught my attention was the vaulted ceiling, designed by Guastavino, of one of the buildings largest rooms. The ceiling enhances the spaciousness of the room, giving it an openness and lightness that is quite captivating. The middle section of Colonnade has this openness at its core, and is dominated by long, arching lines that, to me, suggest the refined beauty of this ceiling. World premiere March 8, 2003; Albany Symphony Orchestra conducted by David Alan Miller.
SKU: AP.48188S
UPC: 038081554983. English.
SKU: AP.35855
ISBN 9780739080450. UPC: 038081400518. English. Tim Hayden.
SKU: HL.44002727
UPC: 073999128024. 9.5x13.5x0.265 inches.
Ottorino Respighi (1879-1936) est considere comme l'un des plus grands compositeurs italiens du debut du XXe siecle. Respighi a compose plusieurs operas, des ballets, quelques cantates, des œuvres de musique de chambre et des melodies pour orgue et piano. Son style unique a ete profondement influence par les impressionnistes francais, par Rimski-Korsakov et Richard Strauss. Toutefois, il est surtout connu pour son triptyque symphonique Fontane di Roma (Les Fontaines de Rome), Pini di Roma (Les Pins de Rome) et Feste Romane (Fetes romaines). Dans le poeme symphonique Les Pins de Rome, il se montre un maitre de l'orchestration par son utilisation de timbrestres varies et captivants. La composition comprend quatre mouvements et s'ouvre par les Pins de la Villa Borghese, ou des enfants jouent pres des arbres. Apres cette introduction, Respighi passe brusquement aux Pins pres d'une catacombe : les pins projettent leur ombre sur l'entree d'une catacombe d'ou s'eleve un hymne gregorien melancolique. Les Pins du Janicule, est un nocturne ou les pins se profilent au clair d'une lune sereine. Dans les Pins de la Via Appia (Voie Apienne), le jour se leve : La campagne tragique est veillee par des pins solitaires. La musique ressuscite la vision glorieuse d'une armee consulaire en marche vers le Capitole.
SKU: HL.44002726
9.5x13.5x1.76 inches.
SKU: BT.DHP-0971051-140
340 X 250 inches.
Ottorino Respighi (1879-1936) est considéré comme l'un des plus grands compositeurs italiens du début du XXe siècle. Respighi a composé plusieurs opéras, des ballets, quelques cantates, des œuvres de musique de chambre et des mélodies pour orgue et piano. Son style unique a été profondément influencé par les impressionnistes français, par Rimski-Korsakov et Richard Strauss. Toutefois, il est surtout connu pour son triptyque symphonique Fontane di Roma (Les Fontaines de Rome), Pini di Roma (Les Pins de Rome) et Feste Romane (Fêtes romaines). Dans le poème symphonique Les Pins de Rome, il se montre un maître de l’orchestration par son utilisation de timbrestrès variés et captivants. La composition comprend quatre mouvements et s’ouvre par les Pins de la Villa Borghèse, où des enfants jouent près des arbres. Après cette introduction, Respighi passe brusquement aux Pins près d’une catacombe : les pins projettent leur ombre sur l’entrée d'une catacombe d’où s'élève un hymne grégorien mélancolique. Les Pins du Janicule, est un nocturne où les pins se profilent au clair d'une lune sereine. Dans les Pins de la Via Appia (Voie Apienne), le jour se lève : La campagne tragique est veillée par des pins solitaires. La musique ressuscite la vision glorieuse d'une armée consulaire en marche vers le Capitole.
