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Singapura Suite

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Jan Van der Roost

Jan Van der Roost


General Info

Year: 1998
Duration: c. 8:20
Difficulty: II-1/2 (see Ratings for explanation)
Publisher: De Haske
Cost: Score and Parts (print) - €149.99   |   Score Only (print) - €30.99


Instrumentation

Full Score
C Piccolo
Flute (Piccolo) I-II
Oboe
Bassoon I-II
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
E-flat Alto Clarinet
B-flat Bass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Cornet/Trumpet I-II-III
Horn in F I-II-III
Trombone I-II-III
Euphonium
Tuba
String Bass
Timpani
Percussion I-II-III, including:

  • Bass Drum
  • Glockenspiel
  • Snare Drum
  • Suspended Cymbal
  • Tambourine
  • Tam-tam
  • Triangle
  • Whip
  • Xylophone


Errata

(de haske-Hal Leonard edition, 1999) Jan Van der Roost

Movement I

  • On the Saxophone parts,
    • E-flat Alto Saxophone I should be for 2nd Alto Saxophone, and
    • E-flat Alto Saxophone II should be for 1st Alto Saxophone.
  • E-flat Soprano Clarinet, m.38: The last note A should be read an octave higher
  • B-flat Trumpet II, Bb Trumpet 3, m.103: Add a dotted minim G to these parts. (following Bb Trumpet 1 part)
  • Horn in F I, m.63: The first note E should read D (lower)
  • Mallet Percussion, m.67-90: This part is written for the glockenspiel
  • Timpani, m.86-88: Performance of these bars is optional
  • Timpani, m.110: Performance of this bar is optional
  • Timpani, m.115-117: Performance of these bars is optional
  • Percussion I, m.118-119: This part is written for the tambourine
  • Percussion II, m.142-147: The Tam-Tam part should be tied
  • Percussion II (Tam-tam), m.147: There should be no roll, just let ring

Movement II

  • Bassoon, m.142: The first note Bb should read A (lower)
  • Bassoon, m.143: The first note F should read G
  • B-flat Soprano Clarinet I, m.176: The 3rd quaver F# should read F-natural (lower)
  • B-flat Soprano Clarinet III, m.63: The first note F should read E
  • E-flat Alto Saxophone 1, m.197: The last quaver C should read B (lower)
  • B-flat Trumpet I, m.125: The last quaver B should read C (higher)
  • B-flat Trumpet I, m.197: The last quaver B should read C (higher)
  • Trombones, m.173: Add “Open”
  • Bass, m.8: The last semiquaver D note should read C (lower)
  • Mallet Percussion, m.71: The last note Ab should read A-natural (lower)
  • Percussion I, m.62-65: The Cymbal part should be tied


(de haske edition, 1998) Jan Van der Roost

Movement I

  • On the Saxophone parts,
    • E-flat Alto Saxophone I should be for 2nd Alto Saxophone, and
    • E-flat Alto Saxophone II should be for 1st Alto Saxophone.
  • E-flat Soprano Clarinet, m.38: The last note A should be read an octave higher
  • B-flat Trumpet II, Bb Trumpet 3, m.103: Add a dotted minim G to these parts. (following Bb Trumpet 1 part)
  • Horn in F I, m.63: The first note E should read D (lower)
  • Mallet Percussion, m.67-90: This part is written for the glockenspiel
  • Timpani, m.86-88: Performance of these bars is optional
  • Timpani, m.110: Performance of this bar is optional
  • Timpani, m.115-117: Performance of these bars is optional
  • Percussion 1, m.118-119: This part is written for the tambourine
  • Percussion 2, m.142-147: The Tam-Tam part should be tied
  • Percussion 2 (Tam-tam), m.147: There should be no roll, just let ring

Movement II

  • Bassoon, m.143: The first note F should read G
  • B-flat Soprano Clarinet I, m.176: The 3rd quaver F# should read F-natural (lower)
  • B-flat Soprano Clarinet III, m.63: The first note F should read E
  • E-flat Alto Saxophone I, m.197: The last quaver C should read B (lower)
  • B-flat Trumpet I, m.125: The last quaver B should read C (higher)
  • B-flat Trumpet I, m.197: The last quaver B should read C (higher)
  • Trombones, m.173: Add “Open”
  • Mallet Percussion, m.71: The last note Ab should read A-natural (lower)
  • Percussion I, m.43-45: This part is written for the Snare Drum
  • Percussion I, m.62-65: The Cymbal part should be tied

- From The Band Post article

Program Notes

"Singapura" is the original name of Singapore in Malay, the native language there. Because Singapore is one of the most important harbors in the world, this two-piece work opens with a seaman's dance. An authentic melody, Chan Mali Chan, is woven into the middle of this first part, whose ABA form becomes clear through the recapitulation of the seaman's dance in a somewhat altered form.

Singapore is also a dynamic city-state alive with excitement, thus the second part begins with a fitting dance, a fast bourrée. As contrast there is a second authentic melody, Dayung Sampan, a more easygoing sailing song. This short but curious suite ends in high spirits with a recapitulation of the beginning.

Singapura Suite was commissioned by Singapore's Ministry of Education Extracurricular Activities Branch to serve as a compulsory piece for the 1999 Singapore Youth Festival.

- Program Note from publisher


Commercial Discography


Media


State Ratings

  • Michigan: Senior High C
  • Ohio: OMEA High School Band C
  • Oklahoma: I-A
  • Texas: III. Complete
  • Virginia: I


Performances

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Works for Winds by This Composer


Resources