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Mitt hjerte alltid vanker - Fantasi : Fantasy on My Heart remains in Wonder

Mitt hjerte alltid vanker - Fantasi : Fantasy on My Heart remains in Wonder

This arrangement was commissioned by B3 (The Bergen Woodwind Ensemble). B3 is a large woodwind ensemble located in Bergen with a mix of professional and amateur players. My Heart Remains in Wonder is a well-known Christmas hymn in Scandinavia. I wanted my version to be different to the traditional hymn tune style in which it is normally performed. One day I was outside walking and this idea came to me: an ostinato-like, mechanical skeleton of arpeggio semiquavers on which I could 'hang' the melody. However, I also wanted to do the melody line a bit different. The inspiration for this comes from folk music and the way fiddlers hardly ever lift their bow off the strings when they play. Because of this, it is important that the melody is played in a very sostenuto style in this arrangement. The harmonies lie somewhere between jazz and folk music with a little nod towards Grieg (himself heavily influenced by folk music) in the slow middle section.

SEK 1610.00
1

Mitt hjerte alltid vanker - Fantasi : Fantasy on My Heart remains in Wonder

Mitt hjerte alltid vanker - Fantasi : Fantasy on My Heart remains in Wonder

This arrangement was commissioned by B3 (The Bergen Woodwind Ensemble). B3 is a large woodwind ensemble located in Bergen with a mix of professional and amateur players. My Heart Remains in Wonder is a well-known Christmas hymn in Scandinavia. I wanted my version to be different to the traditional hymn tune style in which it is normally performed. One day I was outside walking and this idea came to me: an ostinato-like, mechanical skeleton of arpeggio semiquavers on which I could 'hang' the melody. However, I also wanted to do the melody line a bit different. The inspiration for this comes from folk music and the way fiddlers hardly ever lift their bow off the strings when they play. Because of this, it is important that the melody is played in a very sostenuto style in this arrangement. The harmonies lie somewhere between jazz and folk music with a little nod towards Grieg (himself heavily influenced by folk music) in the slow middle section.

SEK 2383.00
1

In Charge - Concert March

In Charge - Concert March

In Charge was commissioned by the Home Guard Band of Eksjö to honour Thomas Samuelsson, whose efforts with the orchestra have been of great significance. He was a driving person within Swedish military music and furthermore project manager for Eksjö International Tattoo. Thomas worked at Eksjö Energy and the title of this work hints both to his occupation and his administrative leadership in the band. The first part of this concert march concentrates a lot on syncopation, while the second part is more robust with a traditional and lyrical trio part. In Charge was premiered by the Home Guard Band of Eksjö on the 22th of December 2018, conducted by Maria Sandberg.

SEK 1744.00
1

In Charge - Concert March

In Charge - Concert March

In Charge was commissioned by the Home Guard Band of Eksjö to honour Thomas Samuelsson, whose efforts with the orchestra have been of great significance. He was a driving person within Swedish military music and furthermore project manager for Eksjö International Tattoo. Thomas worked at Eksjö Energy and the title of this work hints both to his occupation and his administrative leadership in the band. The first part of this concert march concentrates a lot on syncopation, while the second part is more robust with a traditional and lyrical trio part. In Charge was premiered by the Home Guard Band of Eksjö on the 22th of December 2018, conducted by Maria Sandberg.

SEK 1358.00
1

I Remember Clifford

I Remember Clifford

Clifford Brown was a very promising trumpeter who played with the best ones when he was killed in a car accident only 25 years old. Benny Golson (tenor saxophone) played with him in Lionel Hampton's band, and wrote this melody as a tribute to his colleague. The original was recorded by Donald Byrd in 1957. The melody was quickly picked up and recorded by a myriad of musicians and eventually lyrics was added. This varies a bit from recording to recording. This arrangement is based on the ability to use both vocal and instrumentalists as soloists. There are two different graded written solos for instrumentalists, or they can play the melody and improvise on therepetition. It is important that the conductor make the shure that the balance in the accompaniment is good. Stylistically, eighths are initially played even, while there is a slight swing feeling in drums. Solo Options: Vokal Eb-Instruments grade 3 Eb-Instruments grade 4 Bb-Instruments grade 3 Bb-Instruments grade 4

SEK 1492.00
1

Vidda : Solo for Trumpet and Brass Band

Vidda : Solo for Trumpet and Brass Band

I composed the song "Vidda" after I got my ultimate boy's dream fulfilled; To fly one of the Air Force's F-16 fighter jets! We flew out from Norwegian city Bodø on to the Finnmark plateau, where we flew so-called "low level" (at low altitude). It was such a great experience for me that I immediately wrote the song "Vidda" based on my experience of the trip. Here, I try to describe the meeting between the technical perfection of a machine that surpasses most of the various forces in it’s escape through the magnificent scenery passing at great speed, and the pilot who is alone with both the adventure and responsibility. The drums which start the song is meant to describes theenergy in the power of the plane, while the lonely and kind of melancholy melody from the trumpet in the beginning describes the feelings of the pilot. As the song develop, we pass both the mountains and big beautiful plateaus with g-forces quivering body. Hopefully you will share some of my experiences through this song. Have a nice flight! Ole Edvard Antonsen I composed the song "Vidda" after I got my ultimate boy's dream fulfilled; To fly one of the Air Force's F-16 fighter jets! We flew out from Norwegian city Bodø on to the Finnmark plateau, where we flew so-called "low level" (at low altitude). It was such a great experience for me that I immediately wrote the song "Vidda" based on my experience of the trip. Here, I try to describe the meeting between the technical perfection of a machine that surpasses most of the various forces in it’s escape through the magnificent scenery passing at great speed, and the pilot who is alone with both the adventure and responsibility. The drums which start the song is meant to describes theenergy in the power of the plane, while the lonely and kind of melancholy melody from the trumpet in the beginning describes the feelings of the pilot. As the song develop, we pass both the mountains and big beautiful plateaus with g-forces quivering body. Hopefully you will share some of my experiences through this song. Have a nice flight! Ole Edvard Antonsen

SEK 1358.00
1

Fanfare and Chorale

Fanfare and Chorale

This arrangement (or edition) for brass band will give the possibility for more performances of this fine work by Hovland. The composer, before his death, examined my work and made no suggestions for changes, and his approving comments were complimentary and encouraging. The work was originally written for Concert Band in 1966 as Op. 54a to St. Olaf College Band in the US. It was transcribed in 1967 for symphony orchestra as Op. 54b by the composer himself. The challenges in arranging the piece for brass band were mostly concerned with satisfactorily covering the upper register used by piccolo, flutes and clarinets, and while there are wonderful brass players around who have amazing high registers, I have aimed this edition at a level achievable by reasonably good brass band players who are willing to give time and effort into the proper preparation and delivery of the music. Having worked on this new edition with a top-class brass band, I think it sounds wonderful and interestingly different to the original. Besides the obvious differences of tone-colour and absent high notes, I have used in my scoring, the option for using a vibraphone in place of a celeste. Vaughan Williams, in his Variations for brass band writes for celeste, but because the instrument is quite rare, performances have been mostly given using a glockenspiel- but this, of course sounds two octaves higher than it was intended. I think that vibraphone and brass is an excellent combination and recommend it without hesitation in this piece. Every detail of articulation and dynamic has been considered, so in order to keep the integrity of the music, please do not change anything in the name of “interpretation”. As Ravel says- “What is there to interpret?” Ray Farr

SEK 2650.00
1