Une pièce de théâtre de performance de scène ou de concert, pour parlant de pièces, de chanteurs et de refrain, avec accompaniements instrumental pour enregistreurs, cordes et percussions (seperate pièces disponible). / Solistes, Choeur D'Enfants, Narrateurs Et Petit Orchestre

Une autre collection dans la série des arrangements de lieder de la Romantik allemand pour voix et quatuor à cordes par Reimann (6 chansons opus 107 par Robert Schumann, ED 8329 et Franz Schubert Mignon, ED 8466, ont déjà été publiés). Le donjon d'Ophélie-chansons presque aphorismes étroitement à l'original de Brahms - une approche de composition différente à celui de l'adaptation de Mendelssohn ci-dessous, où chansons et les fragments sont entrecoupées d'intermezzi plus longtemps, délibérément contemporaine et l'ensemble forme un cycle prolongé. / Voix Et Quatuor A Cordes

This medium-tempo swing chart has a cool bluesy quality. Using an ever-changing palette of tone colors and textures A Minor Shade of Blue also features many smaller ensembles within the overall group. A vibraphone part adds to the color but is not required. In addition there are no solos to worry about — just great ensemble writing that features every section while also combining sections for interesting colors. Fantastic writing for big band! (3:00)

A unique type of swing chart that will surely intrigue you and your ensemble! Opening with a mysterious whole-tone riff with growling trumpets this chart instantly makes a lasting impression. As the title implies the piece shifts moods several times though it stays in a fast swing throughout. A sax section feature plays with straight-eighth figures to further shift the mood. No solos — just pure ensemble writing that is sure to be a favorite! (3:50)

This nostalgic easy rock ballad provides an excellent opportunity to showcase your pianist. Lush ensemble writing allows your winds to shine even when using the optional reduced instrumentation. Perfect for concert and festival or as a warm-up this piece will work with practically any ensemble. (3:10)

Wald for Ensemble was composed by Hans Abrahamsen in 2008-09. Co-commission by the Schönberg Ensemble and BBC for Birmingham Contemporary Music Group.Programme NoteWald is in a way a series of variations from the beginning of my woodwind quintet Walden (1978). This thematical idea is very simple - a rising call of a fourth and the response in other voices. This idea is repeated several times but because the call has a slower pulse than the responses the process leads to them changing order.In Walden I borrowed the title from the Americanphilosopher Henry David Thoreau who in the middle of the eighteenth century in a little wooden hermit house at the bank of the lake Walden pond wrote the book Walden of his life and time in the forests. Here he experimented living for two years in order to come closer to nature and to see if it was possible to live simply without all the unnecessary needs created by society. The book is filled with poetry but is also cutting and critical of society. In my piece Walden I tried to search for the same simplicity handling the most simple material but at the same time trying not to lose the poetry.Wald is a twin piece to Walden but also to my former piece Schnee.Robert Schumann wrote in 1848-49 a wonderful piano piece Waldszenen. He wrote this collection of short pieces with beautiful titles like Einsame Blumen Vogel als Prophet and also Jäger auf der Lauer just a few years before Thoreau wrote his book Walden. For them the forest is the magical romantic place that gives a spiritual insight to man but also from where we get our food through hunting. For me the forest still has this magical quality and Wald has scenes with a hunting horn that calls (I many years ago played the magical 'Waldhorn' and remember playing in the forest near my home) flocks of birds that when agitated take

Solo Horn and Wind Ensemble-Inspired by the Hawaiian Goddess of Fire (or Volcano Goddess) by the same name. She was passionate volatile and capricious. This lyrical work is an emotional rollercoaster in which we experience a glimpse of her personality from her quiet moments to her most violent.

This fast swing chart from Rob Vuono features melodic and harmonic writing at its best. Even at this grade level Rob has provided suggested voicings for the rhythm section. Tenor sax has an optional written solo before a sax soli. An a cappella section is ideal to work on the timing of the horns without rhythm before a vamp kicks in building to the end. Great writing!

This outstanding original is guaranteed to be the hit of your next concert! A full ensemble opening leads into a catchy melody before solo opportunities begin for alto sax and trombone (written solos are provided along with chord changes). Saxes then become the rhythm section in a fun a cappella winds feature followed by a shout chorus that really lives up to the name! This is one chart you will not want to overlook! (3:50)

Composed and published 2014.Commissioned by Festival Internacional Cervantino 2014.First performance: Randall Scarlata (baritone) and Ensemble Redes Festival Internacional Cervantino 2014 13th October 2014.Duration: 12 minutes.Instrumentation: Flute(=Bass Flute) Bass Clarinet Percussion Guitar Violin Viola.[Percussion: Triangle Cymbal Large Tam-Tam Wood Block Tambourine Wooden Chimes Sleigh Bells Güiro Maracas Bongos 3 Tom-toms Felxatone Waterphone Vibraphone Marimba 29-inch Timpani].

Click score above for a larger image For your developing group here's a very easy bossa nova chart to fit any group's playing level. No solos are needed to play this one and rhythmic reading consists of mostly whole notes and half notes. Harry Miedema's great changes flow over the Brazilian bossa beat in the rhythm section. An excellent change-of-pace tune for your beginning jazzers.

Parts for Nem Tudhatom by Danish composer Bent Sørensen. For Clarinet String Trio and Ensemble ad.lib Score available: WH31818

This timeless spiritual classic gets the front burner treatment from Disney writer Chris Sharp. A lush opening chorale gives way to a driving New Orleans street beat with tenor solo (as written or with changes) and an easy shout chorus. A real cooker!

Your students can sound like the great Count Basie Band in a short amount of rehearsal time with this very easy swinger. Range demands are low with the lead trumpet going only to a 3rd space C and lead bone to a D. The chart is scored to work for three saxes and four brass. Check out the performance notes for exact instrumentation.

This original shuffle is solidly scored with a Benny Golson/Quincy Jones flavor. The saxes are featured on the head with the solo in the first tenor part. The bridge features a two sax/two trumpet ensemble with a tasty pyramid background that is fun to play. Ken has gone to great lengths to write extensive rhythm section parts assuring that even the most inexperienced players can make this one sound smooth.