SKU: CL.032-4771-00
Vending Machine isn’t Broke is an excellent contemporary chart for big band by Craig Skeffington. Written in a modern straight 8th style, it features all sections of the band with improvisational space for alto sax. Fully notated rhythm section parts, moderate brass ranges, a catchy melody and unique harmonies make this a favorite for festival performance! Intriguing!
SKU: HL.275450
UPC: 888680744090. 5.0x5.0x0.15 inches.
In 1976, Stevie Wonder released his double album Song in the Key of Life. This epic LP contained 21 hits but none bigger than this jazz infused ode to Stevie's daughter. Lifted to new popularity as Stevie serenaded Michelle Obama on the Tonight Show during her final week as the First Lady, this new arrangement captures the R&B feel along with the tenderness expressed between a dad and his daughter.
SKU: CL.032-4771-01
SKU: YM.GTW655461
ISBN 9784636655469.
New Sounds in Concert Band Series (NSB) Duration: approx.6'10 Arranged by Takashi HoshideSongs for the night parade played show in Tokyo Disneyland. Dong Jing Di Shi Ni Le Yuan Meng Huan Ye Yan Chu Qu Mu .
SKU: HL.355228
UPC: 840126939217. 6.75x10.5x0.036 inches.
This celebratory song first appeared at Disneyland Paris in 2005 and was written for their holiday parade.The opening melody is easy to sing yet sounds sophisticated and majestic. This can easily be a processional for your holiday concert and one that will surely put your audience in a holiday mood.
SKU: HL.355229
UPC: 840126939224. 6.75x10.5x0.029 inches.
This celebratory song first appeared at Disneyland Paris in 2005 and was written for their holiday parade. The opening melody is easy to sing yet sounds sophisticated and majestic. This can easily be a processional for your holiday concert and one that will surely put your audience in a holiday mood.Ÿ.
SKU: YM.GTW01090410
ISBN 9784636904109.
New Sounds in Concert Band Series (NSB) for Small Band Duration: approx.4'55 Arranged by Toru Kanayama.
SKU: CF.CPS244F
ISBN 9781491157992. UPC: 680160916597. 9 x 12 inches.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Donat be concerned if you donat have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isnat essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isnat critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes donat sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Don't be concerned if you don't have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn't essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn't critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes don't sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft.Don’t be concerned if you don’t have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn’t essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn’t critical if you do have those other low woodwinds.The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred.When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39.In the slower section after m. 41, be careful that the diminuendos on the half notes don’t sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows.The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
SKU: HL.48182599
UPC: 888680990442. 5.0x8.0 inches.
Tisne Ode 4 Trombones Performance Score.
SKU: GH.CG-7197
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