Mixed Bag No. 21-Mixed Bag. This highly acclaimed series provides a real opportunity for woodwind players of mixed ability to play together. It will work with as few or as many players as you like! Each arrangement will work with just three orfour main parts. Part 1 is quite demanding but Parts 2 & 3 are easier. These parts can be played by just one or several players - it’s up to you! Optional ‘filler’ parts are also included for beginners. These have very simplerhythms and notes (clarinet parts are all below the break) allowing young players to gain experience in ensemble playing. Mixed Bag gives you a score and double set of parts. Titles include arrangements of classical romantic modern and folk tunes. Mixed Bag - the answer for woodwind groups of mixed instrumentation mixed ability and mixed tastes.

Sankt Stefans-Choral. As a source of inspiration, the composer used the dazzling, impressive and beautiful world-famous St. Stephen?s Cathedral?the Stephansdom?in Vienna. Often seen as a national symbol of Austria, it stands in the heart of Vienna and has 14 bells, each with its own name. At the beginning of the work, you can hear the ringing of the bells. The main melody softly emerges from this soundscape and returns repeatedly in various instrumentations and different harmonisations. Following a fortissimo section, the hymnal melody ebbs and fades away, the same way it appeared at the beginning. St. Stephen?s Chorale is a solemn moment of contemplation in your concert.

Commissioned in 1994 by the Royal Air Force 'Scramble!' is a concert overture for symphonic wind band inspired by images of the RAF's airfields during the Battle of Britain immortalised for ever in such films as 'Reach for the Sky'. The pastoral opening depicts the lull before the storm: the young pilots sitting in wicker chairs outside their barracks on a sunlit morning. The peace is of course deceptive suddenly amid siren sounds there is a shout of 'Scramble!' and a rush to the waiting planes. In no time at all the squadron is airborne heading for a skirmish over the English Channel and beyond. A lyrical central section featuring a solo cornet depicts the stillness manypilots described as they flew to engage the enemy before the battle breaks out once more. For those who returned it would be only a short while before once again they would hear the familiar shout of 'Scramble!'

Series: Pop Symphonic Band Category: Concert Band Format: Conductor Score & Parts Instrument: Concert Band Level: 4 (Medium) The music from this timeless masterwork has fascinated generation after generation. Oddly enough, at its premiere the critics presented mixed reaction: some calling it the pioneering work of a new folk-opera genre, and others condemning it as merely a succession of hit songs. Fortunately, time has secured its place in history. James Barnes has skillfully crafted a wonderful scoring of I Got Plenty O' Nuttin', It Ain't Necessarily So, Summertime, Crab Man, and Bess, You Is My Woman Now. Gershwin at his best! (8:19)

Par HUET ESTELLE. Je consacre toujours les cinq premières minutes de mes cours à des jeux de formation de l'oreille que j'ai inventés. Ce rituel est un moment très précieux où l'élève se concentre, 'ouvre ses oreilles' et expérimente son instrument par de nouvelles approches. Ces jeux sont très appréciés des élèves et sont parus en 2019 sous la forme d'une méthode de violoncelle. Dans cette deuxième édition, je m'adresse à tous les professeurs de flûte traversière qui cherchent des outils pour aider leurs élèves à progresser et qui souhaitent diversifier leur cours en expérimentant de nouvelles méthodes. Des oreilles magiques est une méthode originale par de nombreux aspects : L'oralité L'élève ne voit jamais la méthode, qui fait uniquement appel à la transmission orale. Ainsi, l'élève fait vraiment jouer ses capacités auditives. L'apprentissage par le jeu Les jeux rendent le cours vivant et permettent de surmonter les difficultés en les abordant dans un contexte nouveau. La transdisciplinarité Cette méthode fait le lien entre le cours d'instrument et le cours de formation musicale, et permet de faire des progrès dans les deux disciplines. Une progression illimitée La plupart des jeux sont déclinés selon cinq niveaux progressifs. Chaque jeu proposé est faisable dès le premier cours de flûte et jusqu'aux plus hauts niveaux, et s'adresse aux enfants comme aux adultes. Le cinquième niveau est présenté sur un ton humoristique pour mettre en évidence le caractère illimité des progrès potentiels. Le lien avec le chant Cette méthode emploie le chant comme un outil central du travail de l'oreille. Tout au long des jeux, l'élève est incité à chanter pour développer son chant intérieur. Je vous souhaite beaucoup de réussite avec cette méthode, et suis certaine que vos élèves adopteront ces jeux avec autant de plaisir que les miens ! Estelle Huet/ Etude / Flûte Traversière

The legend comes alive with Don't Get Around Much Anymore, Do Nothin' Till You Hear from Me, Sophisticated Lady, and It Don't Mean a Thing (If It Ain't Got That Swing). Timeless melodies matched with a dynamite arrangement equal an unsurpassed performance experience. One of the finest concert band medleys! (7:26)

Par SAINT-SAENS CAMILLE. / Niveau : Assez Facile / Répertoire / Orchestre à Vent

Par MOZART WOLFGANG AMADEUS. Wolfgang Amadeus Mozart's horn concertos: the Mozart expert Henrik Wiese edits the central work genre of Viennese classicism according to the current status of international Mozart research. Mozart wrote the Horn Concerto K. 417 - like the other works of this genre as well - for his horn-playing friend Joseph Leutgeb. The jokes which the composer made at Leutgeb's expense are wellknown. For example, he called the dedicatee a 'donkey” in the autograph, and, as Henrik Wiese evidences in his preface, Mozart also occasionally enjoyed a bit of tomfoolery with the soloist in the musical text as well. Otherwise the editor's task was anything but amusing. The main source - the autograph score - is incomplete: missing are the close of Movement I as well as the entire slow middle movement. For these two sections, Wiese used a copy of the score from the archive of the publisher Johann André. The unusual circumstance that Mozart generally left the horn part almost unmarked recurs in the Concerto K. 417 and was deliberately maintained in the Urtext edition./ Répertoire / Ensemble à Vent

This second movement of The Willson Suite has been restructured to accommodate virtually any wind instrument as the soloist. Serene by nature, the charismatic melody is accompanied by unique effects reminiscent of a gentle rain. The solo may be divided to permit multiple soloists to be featured. This creative approach is the perfect opportunity to feature outstanding soloists at your spring concert. An incredibly musical work. Your audience will be in awe.

In each of the past two years, Robert W. Smith has released a movement from his symphony The Divine Comedy. Musicians, conductors and audiences can now welcome Paradiso, the third movement from the symphony. Ethereal percussion is the palate with which solo voices paint musical landscapes of what paradise must be. Hints of themes from the other movements emerge to tie together all of the musical elements of this powerful new work. Completely captivating! (duration 4:43) [The two movements already available are The Inferno (BD9563) and The Ascension (BD01085)].

When you need a lift, just hum the first four measures of Over The Rainbow. It is one of a few special melodies that have endured for year after year and generation after generation. With technical difficulties removed, now even the least experienced band can enjoy performing this true classic. Enchanting! (2:05)

Woodwind Version-This arrangement retains the essence of the great work yet is easy to play and concise. This WOODWIND PACK optionally combines with parts for Brass (SP1349) and Strings (SP1350) - see back cover for details.