as performed by Ronan Keating-Écrite une dizaine d?années auparavant cette chanson fut rendue célèbre par l?interprétation de Ronan Keating en 1999. Orienté vers la musique pop irlandaise Ronan Keating mène de front une carrière de chanteur dans un boys band mais également en tant que chanteur solo. Figurant sur son premier album solo la version très country qu?il donna de When You Say Nothing at All remporta un énorme succès dans de nombreux pays. Ron Sebregts réalise un formidable arrangement soul de cette très jolie ballade.

Hal Leonard is proud to offer this unique edition for band of one of Broadway's most treasured shows. Carefully adapted from Robert Russell Bennett's orchestral version this is a must for all mature bands' libraries. Includes: Bali Ha'i Bloody Mary A Cock-Eyed Optimist Dite-Moi (Tell Me Why) Happy Talk Honey Bun I'm Gonna Wash That Man Right Out Of My Hair Some Enchanted Evening There Is Nothin' Like a Dame This Nearly Was Mine A Wonderful Guy Younger Than Springtime.

(Includes: C-Jam Blues In a Mellow Tone Caravan Do Nothin' Till You Hear from Me) Includes CD.

Jacob de Haan was commissioned to write Choral Music a concert band from Dinxperlo (Netherlands). This band gave the work its premiere in 1997 during the World Music Contest in Kerkrade. Choral Music is based on the chorale Sollt ich meinem Gott nicht singen by the seventeenth century German composer Johann Schop. Contrary to the title Choral Music has nothing in common with a traditional choral arrangement. This contrasting work has a flashing beginning and only much later following on several thematic changes does Jacob de Haan allow the chorale melody to develop into its original form. Following this episode the chorale becomes a toccata developing into a whirlwind finish.

Par OARE MICHAEL. With nothing faster than a quarter note (except 8ths in percussion) this terrific piece for first-year players features a noble and stately style with enough variety in scoring to provide a rewarding experience. A great opener for that first concert! / Date parution : 2023-10-31/ Répertoire / Concert Band

Here is the distinctive Duke Ellington classic in a very easy setting for band. By using a moderately fast tempo in 4/4 Michael was able to capture the feel of the original using nothing faster than a quarter note in the windparts. The percussion are featured briefly and compliment the style of the arrangement very nicely.

Introducing your young musicians to J.S. Bach's poignantly familiar work is now possible with this easy arrangement by Samuel R. Hazo. Treated in an easy-to-grasp 3/4 time signature your students will experience the genius ofBach and the alluring qualities of this gorgeous theme. Each section of the band gets a turn at the melody and rhythmically there is nothing faster than a quarter note. Guaranteed to sound great with limited rehearsal time! Dur:1:45

During the course of the 20th century the world of music underwent some significant changes. Every decade gave birth to new dances or styles of music such as the Charleston New Orleans Jazz swing ragtime rock and funk. Feel the Beat allows the band to sample this great variety of styles. This sparkling work opens with arhythmic ostinato in the percussion section. Nothing can quench the joy of life. Some playful melodic lines can be heard before the openingpassage is restated and extended until a florid and fresh finale brings the work to a close.

Slip-slidin’ trombone smears in this rip-snortin’ ragtime setting are sure to tickle your ears and put some tap in your toes. The trombone glissando is the happiest sound around! Dedicated to and premiered by the Westchester Middle School Band of Westchester Illinois Mr. Jason Kluge director MONDO GLISSANDO targets that most critical of wind sections. When was the last time you featured your trombones? When was the last time they felt like STARS? Section feature pieces are one of the most important techniques available for keeping a section strong and well represented. MONDO GLISSANDO can even be used as a trombone SOLO piece by having the non-solo trombones play from thetechnically simpler euphonium part.Either way section or solo there’s nothing like an exposed part on an upcoming performance to reinvigorate a musician’s interest and encourage that all-important PRACTICE!

Explorer Level (correlates with Book 1 p. 11) It's hard to believe that this impressive piece for beginners uses nothing faster than quarter notes (a few 8th notes in percussion)! Michael cleverly uses the sound of stomping feetand bold harmonies creating an effect that sounds harder than it really is.

Will Smith's blockbuster film has a catchy funky tune that everybody knows. Don't worry about rehearsing this one much - it's easy repetitive and designed for nothing but fun.

Rock music is always a success. And when it is supported verbally as it is done in this composition the party can begin. Bobby is a friendly circus animal that has seen a lot of the world. There is nothing left to wish for and his freedom from worries radiates from this rock march by Andreas Ludwig Schulte.

Medley incl. La Bamba Tequila Oye Como Va-With Latin favorites from the past Paul Lavender has put together a crowd-pleasing medley that's nothing but fun. This exciting medley includes: La Bamba Tequila and Oye Como Va.

Cathedrals have always appealed to the imagination. Hundreds of years of manpower have been invested in their building and it is not for nothing that today they represent imposing symbols of architecture and history. The cathedral is also a great source of inspiration for compositions drawing on a full palette of acoustic echo effects Gregorian melodies and organ based choral themes.The work ?Catedrals? opens with a five tone motif using double tonguing which resonates through space. Then comes a Gregorian antiphonal theme ?Salve Regina? which is heard in the euphonium and later combines with the opening motif. The quicker passage that follows is basedentirely on the intervals in the motif which by now has added rhythmic variations and develops in different forms including a fugue. The work then builds towards its first climax from which unusual muted sounds emerge creating an atmosphere shrouded in mystery.Gradually more melodious fragments are added to the Gregorian antiphonal theme which develops into an expansive choral emulating the organ and which rises above the sound mass. The work grows more powerful and brilliant in sound until it culminates in a short and explosive finale wherein elements from the whole work come together.