During his short lifetime Max Reger (1873-1916) was a prolific composer with many of his best known works being composed for organ. The ten chorale preludes in this selection are from his set of Thirty Short Chorale Preludes Op.135a composed as short voluntaries for liturgical use rather than for recitals in these arrangements Philip Sparke has kept this in mind and each prelude can be performed with minimal instrumentation for those occasions where a small band is needed. They also make great pieces for band warm-ups or studies in intonation sound and balance.

This assertive and horn-laced electro-pop hit by British singer Dua Lipa is loaded with stylish musical material that scores naturally for marching band. Aggressice groove and punchy harmonized melodies combine in a steady build to the uplifting climax. Production values abound in this effective change of pace arrangement.

Using current chart-topping hit songs Tom has captured the hit section from each hit song and scored it for maximum volume excitement and fun. Offering a variety of styles at about 30 seconds a piece these Hit Hitz will provide relevant entertainment for your band and your audience. Includes: Good Time - Back in Time - Good Feeling - Glad You Came.

A brass chorale opening leading into the famous finale that will delight and excite any crowd. Lots of percussion and strong outdoor scoring will lead to an exciting climax.

Arrangers' Publishing Company-This musical extravaganza provides the closing moments of the Queen Show. With so many musical ideas to work with Tom effectively selects and combines sections allowing for maximum contrast and interest with efficient timing and pacing. Great production possibilities exist for visual effects.

Arrangers' Publishing Company-This musical extravaganza provides the closing moments of the Queen Show. With so many musical ideas to work with Tom effectively selects and combines sections allowing for maximum contrast and interest with efficient timing and pacing. Great production possibilities exist for visual effects.

Michael Brown's lush treatment of Frankie Valli's hit ballad Can't Take My Eyes Off of You opens with a solo or soli for horns followed by a creative mix of modulations and dramatic effects. The ending builds nicely to a climaxwith a recap of Big Girls Don't Cry and a powerful finish.

Using the delicate and flowing strains of ?Ice Dance? (from Edward Scissorhands) Michael uses a rich chorale style to lead into an exciting rendition of the main theme from Beetlejuice. Raucous and a bitoutrageous the closing segment powers ahead to a frenzied climax!