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Heaven-MSFA.Pdf HEAVEN Performed by Bryan Adams Words & Music by Bryan Adam & Jim Vallance Arranged by Steve Cortland Probe - Sample - Full recording available on: CD Brass Revival! BR 2020.086 Exemple - Proef Bernaerts Music BV – Music Publishers Camille Huysmansstraat 63-67 2830 Willebroek – Belgium Tel. 03 860 97 70 E-mail: [email protected] Website: www.bernaertsmusic.com No part of this publication may be reproduced in any form of print without prior and written permission of the publisher Performance Time: 4.12 min. Words & Music by Bryan Adams & Jim Vallance HEAVEN Performed by Bryan Adams Fanfare Arranged by Steve Cortland Slowly q = 70 > > ° # 4 w w w 2 ˙ 4 w Bb Soprano Saxophone & 4 4 4 mf > > > # 4 >. >œ œ >œ. >. >œ œ >œ. >. >œ œ >œ. œ. >œ œ >œ. >. >œ œ >œ. >. >œ œ >œ. 2 œ. >œ œ >. 4 w Eb Alto Saxophone 1 & # 4 œ œ œ œ œ 4 œ 4 mf # 4 > > > 2 >. >œ œ >œ. 4 > Eb Alto Saxophone 2 & # 4 ˙ ˙ ˙ ˙ ˙ ˙ 4 œ 4 w >mf > > # > > Bb Tenor Saxophone 4 œ- œ- œ- œ- œ- 2 ˙ 4 w & 4 -œ -œ -œ -œ -œ ˙ 4 4 mf > # 4 2 4 Eb Baritone Saxophone # 4 œ. ˙ œ. 4 œ. j 4 ¢& œ œ ˙ ˙ œ œ ˙ œ w >mf - - > > > > - - > > > ° # 4 > > 2 4 Eb Flugelhorn & # 4 w w w 4 ˙ 4 w mf # 4 > > 2 4 > Bb Flugelhorn 1 & 4 œ. œ œ œ. œ. œ œ œ. œ. œ œ œ. œ. œ œ œ. œ. œ œ œ. œ. œ œ œ. 4 œ. œ œ œ. 4 w >mf > > > > > > > > > > > > > > > > > > # 4 2 4 Bb Flugelhorn 2 & 4 ˙ 4 ˙ 4 w ˙ ˙ ˙ ˙ ˙ > > >mf > > > > # > > Bb Flugelhorn 3 4 œ- œ- œ- œ- œ- œ- 2 œ. œ œ . 4 & 4 -œ -œ -œ -œ -œ -œ 4Probeœ 4 w ¢ mf > > > > > > > > > > > > > > > > > > > >- > > > > ° 4 œ œ œ. œ œ œ. œ œ œ. œ. œ œ œ. œ œ œ. œ œ œ. 2 œ. œ œ 4 w F Horn 1 & 4 œ. œ. œ. œ. œ. 4 œ. 4 mf 4 > 2 > >œ œ >œ. 4 > F Horn 2 & 4 ˙ ˙ ˙ ˙ ˙ ˙ 4 œ. 4 w >mf > > > > 4 2 4 F Horn 3 & 4 4 ˙ 4 w ¢ -œ œ -œ œ -œ œ œ -œ -œ œ -œ œ mf - - - - - - > > ° # 4 > > 2 4 > Bb Trumpet/Cornet 1 & 4 œ. œ œ œ. œ. œ œ œ. œ. œ œ œ. œ. œ œ œ. œ. œ œ œ. œ. œ œ œ. 4 œ. œ œ œ. 4 w > > > > > > > > > > > > > > > > > > > mf Sample # 4 > > 2 4 Bb Trumpet/Cornet 2 & 4 œ. œ œ œ. œ. œ œ œ. œ. œ œ œ. œ. œ œ œ. œ. œ œ œ. œ. œ œ œ. 4 ˙ 4 w >mf > > > > > > > > -> > > > > > > > # > > > > Bb Trumpet/Cornet 3 4 . œ œ œ. œ œ œ. œ œ œ. œ. œ œ œ. œ œ œ. œ œ œ. 2 œ. œ œ . 4 ¢& 4 œ œ œ œ œ 4 œ 4 w >mf > > > > > > > > > > > > > > > > > >˙ > > w> °? 4 >˙ 2 œ. œ œ >œ. 4 C Trombone 1 b 4 ∑ ∑ 4 4 mf >˙ > > w> ? 4 >˙ 2 œ. œ œ >œ. 4 C Trombone 2 b 4 ∑ ∑ 4 4 mf >˙ > > ? 4 >˙ 2 œ. œ œ >œ. 4 > C Trombone 3 b 4 ∑ ∑ 4 4 w ¢ mf ° # 4 >˙ >˙ Exemple>˙ >˙ >˙ > 2 >˙ 4 > Bb Baritone 1 & 4 ˙ 4 4 w mf - # > > Bb Baritone 2 4 œ- œ- œ- œ- œ- 2 œ. œ œ . 4 ¢& 4 -œ -œ -œ -œ -œ ˙ 4 œ 4 w mf > > > > >œ œ- - >˙ >˙ >˙ >œ œ- - >˙ œ. œ > Bb Euphonium/Baritone °?# 4 œ. œ ˙ ˙ ˙ œ. œ ˙ 2 œ. 4 w ¢ 4 4 œ 4 mf J >. > > > >. > >. > Eb Bass °?# 4 œ. ˙ ˙ ˙ œ. ˙ 2 œ œ 4 w # 4 œ -œ -œ ˙ ˙ œ -œ -œ ˙ 4 J 4 w Proefmf ?# 4 >œ. œ- œ- > > >œ. œ- œ- > 2 > j 4 Bb Bass 4 ˙ ˙ ˙ ˙ 4 œ. œ 4 w ¢ mf > > °? 4 > > 2 4 Timpani b 4 Œ œ Œ œ Œ œ Œ Œ œ Œ 4 œ Œ 4 œ ŒÓ ¢ œ > > œ > > mf> > ° 4 2 4 Drums / 4 ∑ ∑ ∑ 4 ∑ 4 ∑ Tambourine 4 2 4 ¢ / 4 ∑ ∑ ∑ 4 ∑ 4 ∑ > 4 ˙ > 2 4 Glockenspiel &b 4 Ó ∑ ˙ 4 œ. œ œ 4 Ó { ˙ >˙ > > >œ. ˙ mf > > Vibraphone b 4 œ. œ. œ. œ. œ œ . œ. œ. 2 œ. 4 ˙ Ó {& 4 œ. œ œ œ. œ œ œ. œ œ œ œ. œ œ œ. œ œ 4 œ. œ œ 4 mf> > > > > > > > > > > > > > > > > > > > > 2 3 4 5 © Copyright 1984 Irving Music Incorporated/Adams Communicaons Incorporated/Almo Music Corporaon/Testatyme Music, USA. 2020.0944 Rondor Music (London) Limited. This arrangement © Copyright 2016 Snamyook. Bernaerts Music BVBA Used by permission of Music Sales Ltd. All Rights Reserved. Internaonal Copyright Secured. www.bernaertsmusic.com 6 ° # Bb Sop. Sax. & . ∑ ∑ ∑ ∑ - - - - - - - Eb Alto Sax. 1 ## . œ œ œ œ œ- œ- œ- œ- œ œ nœ œ œ #œ- & . œ œ œ œ œ œ œ œ -œ œ -œ œ œ œ - œ - œ œ œ p Eb Alto Sax. 2 ## . - - & . -œ -œ -œ -œ -œ -œ -œ -œ œ œ œ œ œ œ œ œ -œ -œ p - - - - - - # - - - - - Bb Tenor Sax. & . Œ œ œ œ œ œ œ œ œ œ œ œ ˙ ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ ˙ - -œ - - - - œ œ -œ - - - - mf espressivo # j j Eb Bar. Sax. # . œ œ ˙ œ œ œ j œ- ˙ & . - . - . œ œ. œ ˙ œ. J ¢ p -œ - - ° # Eb Flugelhorn & # . ∑ ∑ ∑ ∑ # Bb Flugelhorn 1 & . ∑ ∑ ∑ ∑ One Bb Flugelhorn 2 # . & . œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ #œ -p - - - - - - - - - - - - - - - One # Bb Flugelhorn 3 & . ¢ œ œ œ œ -œ -œ -œ -œ œ œ œ -œ -œ œ œ œ -œ -œ p- - - - - - - - - - F Horn 1 ° . œ œ œ- œ- œ- œ- œ & . - œ - œ œ œ -œ œ -œ œ -œ œ -œ œ -œ œ -œ œ œ œ b-œ œ -œ œ - œ n-œ œ p Probe F Horn 2 . œ œ & -œ -œ -œ -œ -œ -œ -œ -œ œ œ œ - -- œ œ œ -œ -œ p - - - - - - F Horn 3 . ¢& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p- - - - -œ - - - - - - - - - - - ° # Bb Trp./Crnt. 1 & . ∑ ∑ ∑ ∑ # Bb Trp./Crnt. 2 & . ∑ ∑ ∑ ∑ # Sample Bb Trp./Crnt. 3 . ∑ ∑ ∑ ∑ ¢& - ° C Trombone 1 ?b . ∑ ∑ ∑ ∑ C Trombone 2 ?b . ∑ ∑ ∑ ∑ C Trombone 3 ? . ∑ ∑ ∑ ∑ ¢ b ° # - - - - - Bb Baritone 1 & . Œ œ œ œ œ œ œ œ œ œ œ œ ˙ ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ ˙ - -œ - - - - œ œ -œ - - - - mf espressivo Exemple - - B Baritone 2 # . œ œ œ - - - b & . Œ œ œ-œ œ œ -œ œ œ ˙ ‰ œ -œ -œ œ œ -œ ‰ œ -œ -œ œ œ -œ œ ˙ ¢ -œ - œ œ -œ - mf espressivo - - œ œ œ œ- œ œ œ- œ- œ- œ œ œ œ- œ- œ- œ œ œ- œ- œ- œ- œ œ œ- œ ˙ Bb Euph./Bar. °?# . Œ Œ‰ œ- œ œ ‰ œ- ¢ mf espressivo . - ˙ . - . j œ- Eb Bass °?# . œ. œ ˙ œ. œ œ. œ œ. œ ˙ œ. ˙ # . J -œ - œ. œ ˙ œn . œ p J - J Proef - ?# œ. œ- - œ- œ- œ. œ œn . - Bb Bass . J ˙ œ. œ œ. J ˙ œ ˙ ¢ p J J Timp. °? . ∑ ∑ ∑ ∑ ¢ b 2nd time only s.c. h.h. > + o ° ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Drums / . œ œ œ œ œ. Jœ œ œ. Jœ œ œ. Jœ œ œ. Jœ œ p - > - > - > - > 2nd time only Tamb. Ó Œ œ Ó Œ œ Ó Œ œ Ó Œ œ ¢ / >p > > > Glock. b . ∑ ∑ ∑ ∑ {& Vib. b . œ & . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ nœ { p- œ - œ - - - œ - œ - œ - œ - œ - œ - - - œ - œ - œ - 6 7 8 9 2 Heaven - 2020.0944 - www.bernaertsmusic.com 10 - - - - - - œ- œ- - > - - - - - - ° # œ- œ œ œ œ œ œ œ œ œ œ ˙ œ- œ œ œ œ œ œ œ ˙ Bb Sop. Sax. & ∑ Ó Œ‰ ‰ ≈ mf espressivo cresc. Eb Alto Sax. 1 ## œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- nœ œ œ- œ- œ- œ- # œ- œ- & œ œ œ œ œ œ œ œ -œ œ -œ œ œ œ - œ - œ œ œ œ œ < > œ œ cresc. Eb Alto Sax. 2 ## - - & -œ -œ -œ -œ -œ -œ -œ -œ œ œ œ œ œ œ œ œ -œ -œ -œ -œ cresc.- - - - - - # - - - - Bb Tenor Sax. œ- œ- œ- œ- œ œ œ œ œ œ œ- œ- œ œ œ œ œ œ & - - - - -œ -œ - - - - p cresc. # j j Eb Bar. Sax. # œ. œ ˙ œ. œ œ œ j j . œ. œ- ˙ ˙ & œ - - - œ œ. œ œ. -œ œ -œ J ¢ - -œ - cresc. - ° # - - œ- œ- œ- - - œ- œ- œ- >œ ˙ - - - œ- œ- œ- - œ ˙ Eb Flugelhorn & # ∑ Ó Œ‰ œ œ œ œ œ ‰ œ ≈ œ œ œ œ mf espressivo cresc. # - - - - - Bb Flugelhorn 1 & Œ œ œ œ œ œ œ œ œ œ œ œ ˙ ‰ œ œ œ œ œ œ œ ‰ œ œ œ œ œ ˙ ≈ œ œ œ œ œ œ œ ˙ - -œ - - - - - - - - - -œ - - - - - - mf espressivo cresc. > Tutti # Bb Flugelhorn 2 & œ œ œ œ œ œ œ œ œ œ - - - - -œ -œ -œ -œ -œ -œ - - n-œ -œ - - - - <#>-œ -œ (p) cresc. Tutti Bb Flugelhorn 3 # & œ œ ¢ œ œ œ œ -œ -œ -œ -œ -œ -œ - - -œ -œ -œ -œ -œ -œ -œ -œ (-p) - - - cresc. F Horn 1 ° œ œ œ- œ- œ- œ- œ œ œ œ & - œ - œ œ œ -œ œ -œ œ -œ œ -œ œ -œ œ -œ œ œ œ b-œ œ -œ œ - œ - œ - œ - œ <n>-œ œ -œ œ cresc.
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  • Name Artist Composer Album Grouping Genre Size Time Disc
    Name Artist Composer Album Grouping Genre Size Time Disc Number Disc Count Track Number Track Count Year Date Mod ified Date Added Bit Rate Sample Rate Volume Adjustment Kind Equalizer Comments Plays Last Played Skips Last Ski ppedDancing MyQueen Rating ABBA LocationBenny Andersson/Björn Ulvaeus/Stig Anderson ABBA For ever Gold I Rock 3715072 231 1 1 1 1998 10/9/08 3:03 PM 8/21/11 8:54 AM 128 44100 MPEG audio file Audio:ABBA:ABBA Forever Gold I:0 1Knowing Dancing me, Queen.mp3 knowing you ABBA Benny Andersson/Björn Ulvaeus/Stig Anderson ABBA Forever Gold I Rock 3885158 241 1 1 2 1998 10/9/08 3:03 PM 8/21/11 8:54 AM 128 44100 MPEG audio file Audio:ABBA:ABBA Forever Gold I:0 2Take Knowing a chance me, knowingon me you.mp3 ABBA Benny Andersson/Björn Ulvaeus ABBA Forever Gol d I Rock 3924028 244 1 1 3 1998 10/9/08 3:03 PM 8/21/11 8:54 AM 128 44100 MPEG audio file 2 9/10/11 10:56 PM Audio:ABBA:ABBA ForeverMamma mia Gold I:03 ABBA Take a Bennychance Andersson/Björn on me.mp3 Ulvaeus/Stig Anderson ABBA For ever Gold I Rock 3428328 213 1 1 4 1998 10/9/08 3:03 PM 8/21/11 8:54 AM 128 44100 MPEG audio file 2 9/10/11 10:59 PM Audio:ABBA:ABBA ForeverLay all Goldyour I:04love Mammaon me mia.mp3 ABBA Benny Andersson/Björn Ulvaeus ABBA Forever Gol d I Rock 4401337 274 1 1 5 1998 10/9/08 3:03 PM 8/21/11 8:54 AM 128 44100 MPEG audio file Audio:ABBA:ABBA Forever Gold I:0 5Super Lay alltrouper your love ABBA on me.mp3 Benny Andersson/Björn Ulvaeus ABBA Forever Gold I Rock 4081599 254 1 1 6 1998 10/9/08 3:03 PM 8/21/11 8:54 AM 128 44100 MPEG audio file Audio:ABBA:ABBAI
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  • Bryan Adams ‘Run to You’
    Bryan Adams ‘Run To You’ Bryan Adams SONG TITLE: RUN TO YOU ALBUM: RECKLESS RELEASED: 1984 LABEL: A&M GENRE: CLASSIC ROCK PERSONNEL: BRYAN ADAMS (GTR+VOX) KEITH SCOTT (GTR) DAVE TAYLOR (BASS) TOMMY MANDEL (KEYS) MICKEY CURRY (DRUMS) UK CHART PEAK: 11 US CHART PEAK: 6 BACKGROUND INFO NOTES ‘Run To You’ was the first single from 1984’s The main guitar parts are treated with a chorus Reckless. It’s built around a repeated riff that gets its effect (probably added post-production). This effect distinctive sound from the open fourth string that’s was used widely on guitar parts, particularly picked repeated in every chord. The original song is played chordal parts, through the mid-to-late 80s. Def with a capo at the second fret, but sounds just as Leppard’s Hysteria album is probably the most famous effective without a capo, as can be seen in the exam example of this tone, particularly the single ‘Love version. The chorus uses simple open chords which Bites’. As with all genres there are a whole host of are the perfect contrast to the rolling arpeggios found ‘also rans’ who imitated this sound. As popular as it in the verse and pre-chorus. The bridge section was, the chorused guitar tone dated quickly and was changes the dynamic further with a breakdown that largely discarded by the simplistic production values features a simple repeated motif before the song picks that were associated with the grunge movement of up again with a reprise of the chorus. the early 90s.
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  • “Summer of '69”
    T H E S O N G by Fergal Kavanagh Questo pezzo rock di Bryan Adams è passato alla storia. “Summer E’ un ricordo nostalgico delle gioie della gioventù, anche se nell’estate del ‘69 lui aveva solo of ‘69” 9 anni. LANGUAGE LEVEL (To appreciate this article fully we sug- Springsteen’s “Thunder Road.” He also ADVANCED gest you type “Summer of ’69 lyrics” acknowledges10 the Beatles’ influence into an Internet search engine, and refer on the line “When you held my hand.” Track to them as you read.) There is some controversy surrounding 10 the real meaning behind the song, and “Summer of ’69,” which was written in the next verse recalls nothing to do Speaker: 1984, takes a nostalgic look at the joys (“killing time”) and the need to relax Chuck Rolando (Standard of youth. Bryan Adams, who was born in (“unwind”). American accent) November 1959, was only 9 in the sum- In the sleeve notes11 for his 2005 An- mer of ‘69, but the song’s co-author, thology, Bryan Adams claimed the song Jim Vallance, was a few years older. Val- has nothing to do with 1969, saying it lance remembers: “I was thinking about was a “double entendre,” but Jim Val- that amazing summer when I turned 17. lance disagrees: “At no time do I recall We originally planned on calling the discussing sexual innuendo12 with Bry- song ‘Best Days Of My Life.’” an.” The use of the apostrophe in the A six string is a guitar, title’s number should which the singer bought confirm the song is Glossary at the five and dime, a about the year.
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  • Cfc Announces Participants for the Slaight Music Residency
    FOR IMMEDIATE RELEASE: CFC ANNOUNCES PARTICIPANTS FOR THE SLAIGHT MUSIC RESIDENCY Four talented creators chosen to participate in new initiative, focused on building stronger Canadian onscreen musical talent TORONTO, September 25, 2012 – CFC (Canadian Film Centre) is pleased to welcome the four participants of the inaugural SLAIGHT MUSIC RESIDENCY. The final selection committee was comprised of the program’s Songwriter Chair, Jim Cuddy (Blue Rodeo), mega-hit songwriter/record producer/ performer Marc Jordan (Josh Groban, Rod Stewart, Cher, Bette Midler, Bonnie Raitt, Diana Ross), filmmaker/lyricist Michael McGowan (Score: A Hockey Musical), composer/conductor Glenn Morley (One Magic Christmas), Emmy Award-nominated composer Amin Bhatia (“Flashpoint”) and Oscar-nominated and Emmy Award-winning filmmaker Larry Weinstein (Rhombus Media). After an extensive selection process, the four participants of The Slaight Music Residency include: • Jeff Morrow, a Toronto-based composer and musician whose credits include “Crash Canyon” (Teletoon/MTV), “The Passionate Eye” (CBC) and “The Fifth Estate” (CBC). He has also contributed music to “The Bridge” (CBS/CTV). He is currently scoring “Rocket Monkeys” (Teletoon) and a feature-length documentary about the Attawapiskat First Nation with director Victoria Lean. Morrow holds a Bachelor of Music from McGill University, and works as an in-house composer at the Eggplant Collective. • Todor Kobakov, a composer and producer, Kobakov has seven feature film scores to his credit, including The Samaritan, Cold Blooded, and Young People Fucking. His work for Cold Blooded won the Audience Award at the 2012 Fantasia Film Festival. Kobakov has also created vivid soundtracks for short films, TV and dozens of Canadian and international commercials.
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