SKU: HL.49023849
ISBN 9783795756758. 6.25x9.5x0.967 inches. German. Claudia Schmidt.
Das Liederbuch enthalt 243 Lieder mit Erklarungen, bearbeitet fur Gesangstimmen (ein bis vier Stimmen) und Gitarrenbegleitung. Der thematische Bogen reicht von Kinderliedern, Volksliedern, franzosischen Chansons uber Spirituals, Folk Songs und Schlager bis hin zu Rock und Pop. Alle Lieder sind als leichte bis mittelschwere Arrangements gut nachzuspielen. Das Buch enthalt Basisinformationen zu jedem Kapitel, begleitende Texte und Erlauterungen zu soziokulturellen Hintergrunden von Autoren und Liedern. Diese Sammlung der besten Lieder und Songs ist mehr als ein Schulliederbuch! Sie ist das ideale Songbook fur Freizeit, Hobby und gesellige Anlasse.
SKU: BT.DHP-1064150-010
9x12 inches. English-German-French-Dutch.
O Heiland, reiß die Himmel auf (O Savior, Rend the Heavens Wide) was written by the German poet Friedrich von Spee (1591-1635) during the Thirty Years? War. The profound text echoes the misery of that time, but at the same time reflects hope of comfort and redemption. This well-known Advent song is sung in the Catholic as well as the Protestant Church. Jacob de Haan has used the beautiful melody for this arrangement for concert band. O Heiland, reiß die Himmel auf (Kom tot ons, scheur de heem’len Heer) werd geschreven door de Duitse dichter Friedrich von Spee (1591-1635) in de Dertigjarige Oorlog. De indringende tekst geeft de ellende van die tijd weer,maar weerspiegelt tegelijkertijd hoop op troost en verlossing. Dit bekende adventslied wordt in zowel de katholieke als de protestantse kerk gezongen. Jacob de Haan gebruikte de mooie melodie voor dit gedragen arrangement voor hrmonieorkest.O Heiland, reiß die Himmel auf stammt aus der Zeit des 30jährigen Krieges. Der tiefgründige Text spiegelt das Elend jener Zeit wider, gleichzeitig weist er aber auch auf die Hoffnung auf Trost und Erlösung hin. Dieses altbekannte Adventslied wird sowohl in katholischen als auch in protestantischen Kirchen gesungen. Jacob de Haan verwendete die wundervolle Melodie für seine feierliche Bearbeitung für Blasorchester. Le texte O Heiland, reiß die Himmel auf (“Oh ! viens, Seigneurâ€) a été écrit par le poète allemand Friedrich von Spee (1591-1635) au cours de la guerre de Trente Ans. Il témoigne de la grande misère qui régnait l’époque, mais est aussi synonyme d’espoir, de réconfort, de rédemption. Ce cantique de l’Avent est chanté par les églises protestante et catholique. Jacob de Haan s’en est inspiré pour réaliser cet arrangement majestueux. Il testo O Heiland, reiss die Himmel auf è stato scritto dal poeta tedesco Friedrich von Spee (1591-1635) durante la guerra dei Trenta Anni. Esso testimonia la grande miseria che regnava all’epoca, ma è anche sinonimo di speranza, conforto e redenzione. Questo cantico dell’Avvento è cantato nelle chiese protestanti e cattoliche. Jacob de Haan ne ha realizzato un arrangiamento maestoso.
SKU: BT.DHP-1064150-140
O Heiland, reiß die Himmel auf (O Savior, Rend the Heavens Wide) was written by the German poet Friedrich von Spee (1591-1635) during the Thirty Years? War. The profound text echoes the misery of that time, but at the same time reflects hope of comfort and redemption. This well-known Advent song is sung in the Catholic as well as the Protestant Church. Jacob de Haan has used the beautiful melody for this arrangement for concert band. O Heiland, reiß die Himmel auf stammt aus der Zeit des 30jährigen Krieges. Der tiefgründige Text spiegelt das Elend jener Zeit wider, gleichzeitig weist er aber auch auf die Hoffnung auf Trost und Erlösung hin. Dieses altbekannte Adventslied wird sowohl in katholischen als auch in protestantischen Kirchen gesungen. Jacob de Haan verwendete die wundervolle Melodie für seine feierliche Bearbeitung für Blasorchester. Le texte O Heiland, reiß die Himmel auf (“Oh ! viens, Seigneurâ€) a été écrit par le poète allemand Friedrich von Spee (1591-1635) au cours de la guerre de Trente Ans. Il témoigne de la grande misère qui régnait l’époque, mais est aussi synonyme d’espoir, de réconfort, de rédemption. Ce cantique de l’Avent est chanté par les églises protestante et catholique. Jacob de Haan s’en est inspiré pour réaliser cet arrangement majestueux. Il testo O Heiland, reiss die Himmel auf è stato scritto dal poeta tedesco Friedrich von Spee (1591-1635) durante la guerra dei Trenta Anni. Esso testimonia la grande miseria che regnava all’epoca, ma è anche sinonimo di speranza, conforto e redenzione. Questo cantico dell’Avvento è cantato nelle chiese protestanti e cattoliche. Jacob de Haan ne ha realizzato un arrangiamento maestoso.
SKU: GH.GE-10580
ISBN 9790070105804. 185 x 262 mm inches. Text: Karl-Fredrik Jehrlander (Swedish).
Traditionell sang fran Puerto Rico i arrangemang for blandad kor och piano.
SKU: BT.AMP-143-020
9x12 inches. English-German.
The idea behind this work was to create an opening piece, something to start a concert in an unusual way. The title is a portmanteau word derived from madrigal. The work indeed begins in Renaissance mood however gradually tries to shake of its modal start and, by contrasting different instrumental families,the work changes into modern clothes.Why not add a little Renaissance splendor to any concert with this unique new work? De titel Madrigalum is afgeleid van de term madrigaal - en dit openingswerk begint inderdaad in een renaissancistische sfeer, aanvankelijk met slagwerk. Een fanfareachtig motief, ingezet door een solotrompet, is gebaseerd ophet ritmische motief dat de aanvang van veel zestiende-eeuwse madrigalen kenmerkt (een lange toon en twee korte tonen). Maar het werk schudt zijn modale start van zich af: met contrasten tussen verschillende instrumentgroepen veranderthet van richting en hult zich in een modern jasje. Een legato gedeelte vestigt de aandacht op de zachter klinkende instrumenten in afwisseling met het madrigaalritme - tot een complete omschakeling naar een sneller coda leidt,waarmee het werk besluit.Dem Titel entsprechend, beginnt dieses Eröffnungswerk im Renaissance-Stil in den Schlaginstrumenten mit einer fanfareartigen Figur in einer Solotrompete. Dann entwickelt sich die Musik jedoch hin zu moderneren Klängen. Dann wechselt sich ein Legato mit dem schnelleren Madrigalrhythmus ab, bevor das Stück noch einmal die Richtung ändert und in einer schnellen Coda endet. Ein ungewöhnlicher, viel versprechender Auftakt für Ihr Konzert! Questo brano di apertura è insolito e originale. Il titolo è un acronimo derivato dal termine madrigale, una forma musicale apparsa nel XVI secolo. Madrigalum apre al suono delle percussioni, in uno stile rinascimentale. La tromba espone un motivo di fanfara ispirato da una figura ritmica caratteristica di numerosi madrigali dell’epoca. La struttura abbandona progressivamente la sua forma modale per sviluppare un dialogo strumentale contrastante e contrastato che d al brano una forma più moderna. Un passaggio legato evidenzia gli strumenti dalle sonorit più calde e si alterna con motivi ritmici del madrigale, prima di imporre un cambiamento assoluto del carattere cheaccompagna il brano ad un finale eclatante.
SKU: BT.MUSUMP22331
ISBN 9780711975552.
A mixed collection of compositions by 16th, 17th and 18th century Spanish organists including Fray Tomas de Santa Maria, Joseph Ximenez, Fray Cristobal de San Jeronimo, Sebastian de Albero and Julian Prieto.
SKU: BT.AMP-143-120
The idea behind this work was to create an opening piece, something to start a concert in an unusual way. The title is a portmanteau word derived from madrigal. The work indeed begins in Renaissance mood however gradually tries to shake of its modal start and, by contrasting different instrumental families,the work changes into modern clothes.Why not add a little Renaissance splendor to any concert with this unique new work? Dem Titel entsprechend, beginnt dieses Eröffnungswerk im Renaissance-Stil in den Schlaginstrumenten mit einer fanfareartigen Figur in einer Solotrompete. Dann entwickelt sich die Musik jedoch hin zu moderneren Klängen. Dann wechselt sich ein Legato mit dem schnelleren Madrigalrhythmus ab, bevor das Stück noch einmal die Richtung ändert und in einer schnellen Coda endet. Ein ungewöhnlicher, viel versprechender Auftakt für Ihr Konzert! Questo brano di apertura è insolito e originale. Il titolo è un acronimo derivato dal termine madrigale, una forma musicale apparsa nel XVI secolo. Madrigalum apre al suono delle percussioni, in uno stile rinascimentale. La tromba espone un motivo di fanfara ispirato da una figura ritmica caratteristica di numerosi madrigali dell’epoca. La struttura abbandona progressivamente la sua forma modale per sviluppare un dialogo strumentale contrastante e contrastato che d al brano una forma più moderna. Un passaggio legato evidenzia gli strumenti dalle sonorit più calde e si alterna con motivi ritmici del madrigale, prima di imporre un cambiamento assoluto del carattere cheaccompagna il brano ad un finale eclatante.
SKU: CF.BF141
ISBN 9781491159989. UPC: 680160918584.
The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance.The first movement, Prayer, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski's (1912-1991) now well-known setting of the High Holyday prayer Avinu Malkenu. This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both Prayer and Janowski's Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos.The second movement, Supplication (the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, Jewish Song, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience.The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch's most celebrated work, Schelomo in 1917.Though the popularity of Bloch's oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America's composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance. The first movement, Prayer, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski's (1912-1991) now well-known setting of the High Holyday prayer Avinu Malkenu. This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both Prayer and Janowski's Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos. The second movement, Supplication (the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, Jewish Song, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience. The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch's most celebrated work, Schelomo in 1917. Though the popularity of Bloch's oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America's composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance.The first movement, “Prayerâ€, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, “The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski’s (1912–1991) now well-known setting of the High Holyday prayer Avinu Malkenu.†This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both “Prayer†and Janowski’s Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos.The second movement, “Supplication†(the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, “Jewish Songâ€, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience.The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch’s most celebrated work, Schelomo in 1917.Though the popularity of Bloch’s oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America’s composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.
SKU: HL.274979
ISBN 9781540025814. UPC: 888680741389. 9.0x12.0x0.133 inches. Book/Online Audio.
17 easy arrangements of pop hits with instruction tips for each by popular YouTube instructor Mr. Hoffman. Each song also has a demo track and backing tracks online to help students hear how they should sound and then play along and sound like a pro! Ideal for beginning piano students who want to use their new-found skills to play popular music. Songs include: Can't Stop the Feeling • Fight Song • He's a Pirate • How Far I'll Go • Lean on Me • Let It Go • Linus and Lucy • Shake It Off • This Is Me • We Will Rock You • and more.
SKU: BT.1865-11-015-MS
Long before music videos were widespread entertainment, The Beatles were already dabbling with film. After A Hard Day’s Night, they went on to make their second movie, Help! in 1965. The title song, sharing the same title as the album, was originally a slow ballad. It was producer George Martin who upped the tempo, resulting in one of The Beatles’ biggest hits. André Waignein created an exciting arrangement for flexible instrumentation, making it accessible for ensembles large and small.Lang voor de tijd van de videoclips gebruikten de Beatles al het medium film. Na Yeah Yeah Yeah (A Hard Day’s Night) uit het jaar 1965 hadden ze met Help! hun tweede bioscoopfilm. De titelsong van het gelijktijdig gepubliceerde engelijknamige album was oorspronkelijk een langzame ballad. De producent George Martin bracht meer tempo in de song en zo ontstond een van de succesvolste hits ooit van ‘The Fab Four’. Met de variabele instrumentatie van de bewerkingvan André Waigneins is deze tijdloze hit nu voor vele blaasorkesten toegankelijk.Lange vor der Zeit der Musikvideos, bedienten sich die Beatles schon des Mediums Film und drehten nach Yeah Yeah Yeah (A Hard Day's Night) im Jahre 1965 mit Help! bereits ihren zweiten Kinofilm. Der Titelsong des parallel veröffentlichten gleichnamigen Albums war ursprünglich eine langsame Ballade. Der Produzent George Martin brachte mehr Tempo in den Song - und so entstand einer der erfolgreichsten Hits der Pilzköpfe, der in der variablen Instrumentierung von Andrew Watkin Bearbeitung nun zahlreichen Bläserbesetzungen zugänglich wurde.Les Beatles ont fait usage du moyen-métrage pour leur film A Hard Day’s Night bien avant l’arrivée des clips musicaux. Sorti en 1965, Help ! est leur second film musical. La chanson du même titre a été écrite tout d’abord sous la forme d’une ballade. Cependant, le producteur George Martin souhaitait un thème plus vif. Dès son entrée dans le hit-parade, la chanson remaniée se classe immédiatement en première place. André Waignein nous restitue un excellent arrangement pour ensemble instrumentation variable.Help! è il celebre brano dei Beatles pubblicato come singolo e nell’album omonimo del 1965 e prodotto, come quasi tutte le canzoni dei “Fab 4†da George Martin. Help! è anche la colonna sonora del film che porta lo stesso nome. André Waignein ci regala un ottimo arrangiamento per ensemble a strumentazione variabile.
SKU: BT.1865-11-215-MS
After A Hard Day’s Night, they went on to make their second movie, Help! in 1965. The title song, sharing the same title as the album, was originally a slow ballad. It was producer George Martin who upped the tempo, resulting in one of The Beatles’ biggest hits. André Waignein created an exciting arrangement for flexible instrumentation, making it accessible for ensembles large and small. Lang voor de tijd van de videoclips gebruikten de Beatles al het medium film. Na Yeah Yeah Yeah (A Hard Day’s Night) uit het jaar 1965 hadden ze met Help! hun tweede bioscoopfilm. De titelsong van het gelijktijdig gepubliceerde engelijknamige album was oorspronkelijk een langzame ballad. De producent George Martin bracht meer tempo in de song en zo ontstond een van de succesvolste hits ooit van ‘The Fab Four’. Met de variabele instrumentatie van de bewerkingvan André Waigneins is deze tijdloze hit nu voor vele blaasorkesten toegankelijk.Lange vor der Zeit der Musikvideos, bedienten sich die Beatles schon des Mediums Film und drehten nach Yeah Yeah Yeah (A Hard Day's Night) im Jahre 1965 mit Help! bereits ihren zweiten Kinofilm. Der Titelsong des parallel veröffentlichten gleichnamigen Albums war ursprünglich eine langsame Ballade. Der Produzent George Martin brachte mehr Tempo in den Song - und so entstand einer der erfolgreichsten Hits der Pilzköpfe, der in der variablen Instrumentierung von Andrew Watkin Bearbeitung nun zahlreichen Bläserbesetzungen zugänglich wurde.Les Beatles ont fait usage du moyen-métrage pour leur film A Hard Day’s Night bien avant l’arrivée des clips musicaux. Sorti en 1965, Help ! est leur second film musical. La chanson du même titre a été écrite tout d’abord sous la forme d’une ballade. Cependant, le producteur George Martin souhaitait un thème plus vif. Dès son entrée dans le hit-parade, la chanson remaniée se classe immédiatement en première place. André Waignein nous restitue un excellent arrangement pour ensemble instrumentation variable.Help! è il celebre brano dei Beatles pubblicato come singolo e nell’album omonimo del 1965 e prodotto, come quasi tutte le canzoni dei “Fab 4†da George Martin. Help! è anche la colonna sonora del film che porta lo stesso nome. André Waignein ci regala un ottimo arrangiamento per ensemble a strumentazione variabile.
SKU: HL.44005643
UPC: 884088041137. 9x12 inches. International (more than one language).
Concertino No. 1 in F major for cello and piano. In The Platinum Series this excellent piece has been published in an edition for clarinet. On the CD that comes with the book you will first hear the piano accompaniment alone, followed by the demo version with both clarinet and piano. It is of course more instructive and enjoyable to play with a live accompanist if you can, using the piano part that is also included. This piece is a great addition to the clarinet repertoire!Een van de bekendste werken van Jean-Baptiste Breval is het Concertino No. 1 in F major voor cello en piano. Dit is voor The Platinum Series speciaal voor de klarinet bewerkt. Op de fantastische cd zijn eerst de pianobegeleidingente horen en vervolgens de schitterende demoversies - met klarinet en een live ingespeelde piano. Natuurlijk is het nog leerzamer en aangenamer om echt samen met een pianist te musiceren. Een aanwinst voor het klarinetrepetoire!Das ursprunglich fur Cello und Klavier geschriebene Concertino Nr. 1 in F-Dur des franzosischen Komponisten Jean-Baptiste Breval. Das dreiteilige Werk setzt sich aus einem lebhaften Allegro, einem lyrischen, majestatischen Mittelteil und einem resoluten Allegretto zusammen. Anstelle des Pianisten kann auch zur beiliegenden CD gespielt werden, auf der neben der Begleitung auch eine vollstandige Demoversion zu horen ist.Die Reihe The Platinum Series enthalt bekannte klassische Werke fur verschiedene Instrumente, die nun verschiedenen Holzblasern zuganglich gemacht wurden und sich in ihrer neuen Form wunderbar als Konzertstucke eignen. Die CDs derPlatinum Series bieten Ihnen die Gelegenheit, zu einer schonen Begleitung, die live mit Klavier, Cembalo, Kammerensemble oder gar Sinfonieorchester eingespielt wurde, zu spielen. Auf der CD erklingen jeweils alle Begleitungen und Demo-Versionen. Die Stucke mit Basso continuo, der auf dem Klavier oder Cembalogespielt werden kann, enthalten jeweils eine separate Solo- und Cellostimme, sodass sie auch von einem Ensemble aufgefuhrt werden konnen. Alle sechs Ausgaben sind im Schwierigkeitsgrad mittelschwer - schwer. La collection Platinum Series rassemble des œuvres classiques composees a l'origine pour divers instrument et idealement adaptees pour des instruments a vent de la famille des bois. Chaque ouvrage de cette collection est enrichi d'un compact disc (version integrale + accompagnement) d'une grande qualite musicale. Pour vous offrir un excellent confort de jeu, les accompagnements ont ete confies au piano, au clavecin, a un ensemble de musique de chambre et quelquefois meme a un Orchestre Symphonique. Les oeuvres avec basse continue (adaptee pour le piano ou le clavecin) disposent d'une partie soliste et d'une partie pour violoncelle separees afin de pouvoir constituer unensemble instrumental. La collezione The Platinum Series e sinonimo di alta qualita. Troverete le piu importanti pagine di musica trascritte per strumenti a fiato. Sul CD sono registrati dapprima l'intero brano col solista, e poi le sole basi musicali d'accompagnamento, realizzate con strumenti autentici che realizzano il basso continuo al clavicembalo. Da oggi potrete interpretare col saxofono le musiche di grandi compositori come Benedetto Marcello, oppure suonare al clarinetto la trascrizione del Concerto n.1 di Breval per violoncello. Per le composizioni da suonare in duo, troverete sul CD sia l'incisione completa del brano, che la sola seconda voce o il solo Basso continuo, cosi da potersuonare sia da soli che assieme ad un vostro amico.
SKU: BT.VOLMB395
ISBN 9788863883893. International.
A superb collection of movie music for easy Piano. Contents include: B-52's - (Meet) the Flintstones (The Flintstones), Matt Monro - 007 (007 from Russia With Love), Ottmar Liebert - 2 the night (Il Ciclone), Addams Family(the) (main title), Phil Collins - Against all odds (take a look at me now) (Against All Odds), Alfred Hitchcock presents (Alfred Hitchcock Presents, tv series), Nino Rota - Amarcord (Amarcord), Stelvio Cipriani - Anonimoveneziano (Anonimo Veneziano) and more.
SKU: BT.DHP-1115040-010
9x12 inches.
The title track to the fi lm of the same name was originally composed by Chuck Mangione. The well-known melody helped make this 1970’s jazz and pop legend so famous and popular. Peter Kleine Schaars skillfully transforms this classic film theme into an excellent arrangement for concert band featuring the fl ute and trumpet. Chuck Mangione was de componist van Children of Sanchez, de titelmuziek uit de gelijknamige film. Dit nummer is een van de bekendste werken waarmee de jazz- en poplegende in de jaren zeventig populair werd. Peter Kleine Schaarsveranderde de klassieker in een goed speelbaar arrangement voor harmonieorkest waarin de fluit en de trompet de hoofdrol spelen.Die Titelmusik zum gleichnamigen Film wurde ursprünglich von Chuck Mangione komponiert. Sie zählt zu den bekanntesten Stücken, mit welchen die Jazz- und Poplegende der 70er-Jahre überaus populär wurde. Peter Kleine Schaars verwandelte den Filmmusikklassiker in ein gut spielbares Arrangement für Blasorchester, in dem Flöte und Trompete die Hauptrolle spielen. Chuck Mangione compte parmi les plus grands buglistes de jazz. Peter Kleine Schaars a remarquablement arran gé l’une de ses plus célèbres compositions, Children of Sanchez, générique du fi lm éponyme, sorti en 1979. Dans cet arrangement, la fl te traversière et la trompette jouent les rôles principaux. La musica dell’omonimo fi lm fu composta originariamente da Chuck Mangione e fu una delle musiche da lui scritte che lo rese famoso negli anni ’70. Peter Kleine Schaars ha reso questo grande classico della musica da film accessibile alle bande. Il fl auto e la tromba fanno la parte da leone.
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