Funeral March Of A Marionette - Gounod

Your audience will be delighted with this sly, tongue-in-cheek programmatic march! Filled with clever melodies and colorful surprises, Funeral March of a Marionette is perhaps best known as the theme song from the "Alfred Hitchcock Presents" TV show. Evan VanDoren has crafted this new transcription for the modern wind ensemble, taking care to maximize playability while presenting the work in its truest form.

Funeral March of a Marionette - Stephen Squires

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Funeral Music - Edvard Grieg

The funeral music from the melodrama Bergliot (declamation and orchestra) by the Norwegian composer Edvard Grieg (1843 - 1907) consists of two orchestral fragments which illustrate the dramatical events happening in the melodrama. The monologue is recited by Bergliot, the wife of Einar Tambarskjelve, leader of the Norwegian gentlemen farmers. The latter goes to King Harald's castle in order to request political rights for the gentlemen farmers. Yet he is trapped by the king who cowardly kills both Einar and his son. Bergliot's monologue, relating these tragical events, is a mixture of anger, revolt and resignation. Bergliot was premiered by the Concertgebouw Orchestra, conductedby the composer, at the Amsterdam Concertgebouw in 1906.

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Funeral Music of Queen Mary - Henry Purcell

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Funeral Music Of Queen... - Henry Purcell

Funfair Day! - Carlin

Roller coasters, merry-go-rounds, and big wheels... Oh my! "Funfair Day" Is an original, beginner level work depicting the emotions of a young child during a wonderful day at the funfair. This piece is a great fit for bands with enough percussion players to play various small solos.

Funiculi Funicula (3 or 4 Trumpets Solo)

Funiculi' Funicula' - Luigi Denza

Funiculi-Funicula - Traditional

Funiculi-Funicula Rhapsody - Luigi Denza

This famous melody was written for the 1880 opening of Mt. Vesuvius' funicular railway, lyrics were by Peppino Turco. Mr. Goto's fantasy commands immediate excitement with unmuffled percussion and bold fanfares that segue into a proper tarantella and trombone soli. Carefully observe relative dynamics throughout the 6/8 section, and give all dotted quarter notes equal treatment. Dynamic contrast is critical to maintaining interest in the returning melodic line. The alto/tenor voiced counter line at G should dominate. Take advantage of the novel woodwinds solis at H emphasizing lower voices. The polyrhythmic feel at J and K is best conducted in one; have all "play to" the melody. Enjoy the romantic potential of section L and do not exceed the indicated tempo. Sections N and O can be decidedly mechanical. Certainly "pull out the stops" at the concluding 6/8, but continue to observe all tempi and dynamics for a most effective finale.

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