Funny: The Book. (Everything You Always Wanted to Know About Comedy). Applause Books. Softcover. 216 pages. Published by Applause Books (HL.314925). ISBN 1557838291. 6x9 inches. Funny: The Book is an entertaining look at the art of comedy, from its historical roots to the latest scientific findings, with diversions into the worlds of movies (Buster Keaton and the Marx Brothers), television (The Office), prose (Woody Allen, Robert Benchley), theater (The Front Page), jokes and stand-up comedy (Richard Pryor, Steve Martin), as well as personal reminiscences from the author's experiences on such TV programs as Mork and Mindy.With allusions to the not-always-funny Carl Jung, George Orwell, and Arthur Koestler, Funny: The Book explores the evolution, theories, principles, and practice of comedy, as well as the psychological, philosophical, and even theological underpinnings of humor, coming to the conclusion that (Spoiler Alert!) Comedy is God.

Scenes from a Comedy. (Grade 5 - Score Only). By Philip Sparke (1951-). For Concert Band. Anglo Music Concert Band. Grade 5. 40 pages. Anglo Music Press #AMP197. Published by Anglo Music Press (HL.44007321). This work has no specific programme, but represents scenes from an imaginary pantomime in the commedia dell'arte tradition. A fine work with many contrasts, from triumphal fanfares through tender waltzes to a peasant dance, this major new work for advanced concert bands is sure to become a much-performed item in your concert repertoire. Dur: 8:30.

Comedy Overture by John Ireland (1879-1962). For Concert Band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, 1st Bassoon, 2nd Bassoon*, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone*). Band Music. Grade 5. Score and parts. Duration 10:30. Published by C. Alan Publications (CN.R10004). Originally composed for Brass Band in 1934 "Comedy Overture" is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's "Fingal's Cave" - in other words, a miniature Tone Poem).The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work "These Things Shall Be" (1936-1937). We are fortunate therefore to have both "Comedy Overture" and "A Downland Suite" (1932) written for band medium at this time.As with "Maritime Overture" (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of "Comedy," sometimes appearing in inverted form, and sometimes in major forms as well.The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a "perfect" resolution in the fourth or the fifth.The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major.Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of "Piccadilly." (Much of the material in "Comedy" was re-conceived by Ireland for orchestra and published two years later under the title "A London Overture.")The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section.Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third.Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure.This leads to virtually a full recapitulation of the chirpy "brilliante," with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.

Humorous Duo / Heiteres Duo by Gerhard Track. Bassoon. For 2 bassoons. 3. 16 pages. Published by Doblinger Music Publishers (DB.05-00512). ISBN M-012-16662-7. Dieses humoristisch-parodistische Stuck findet in der Besetzung durch zwei Fagotte seine Entsprechung. Der 1. Satz a!! Intrada (Let's play) a!! erinnert an amerikanische U-Musik. Der 2. Satz a!! Excuse me, Strauss besagt es ist eine Parodie auf Strauss-Walzer.

Why Is That So Funny?. (A Practical Exploration of Physical Comedy). Book. Softcover. 334 pages. Published by Limelight Editions (HL.332710). ISBN 0879103434. 5.5x8.5 inches. This unique exploration of the principles and practice of physical comedy starts with a discussion of the various types of laughter that can be provoked by performance. It then presents graduated sequences of over a hundred games and exercises devised to demonstrate and investigate the whole range of comic possibilities open to a performer. The result is an intensely practical and thoroughly stimulating investigation of how comedy works in physical terms.

Overture To A Lyric Comedy by Byron Adams. For string orchestra. Contemporary. 3. Parts. Composed 2003. Duration 4'30''. Published by Editions BIM (ET.ORCH51C).

Pilger und Fuchs by Jost Meier. For musical comedy, 6 solo voices and orchestra. Contemporary. Study score. Composed 1994. Duration 70'. Published by Editions BIM (ET.OPER1D).

Pilger und Fuchs by Jost Meier. For musical comedy, 6 solo voices and orchestra. Contemporary. Score. Composed 1994. Duration 70'. Published by Editions BIM (ET.OPER1B).

Pilger und Fuchs by Jost Meier. For musical comedy, 6 solo voices and orchestra. Contemporary. Choir score. Composed 1994. Duration 70'. Published by Editions BIM (ET.OPER1A).

Comedy Capers. (Ouverture (Opus 181)). By Gerard Boedijn. For Concert Band. Joke/Fairy Tale/Narrator / Original Overtures / The Best Original Pieces for Concert Band. Original Pieces. Grade 4. Score. Published by Molenaar Edition (ML.011000080-S).