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

The Hal Leonard Jazz Combo Paks are a versatile and inexpensive way to put four fantastic charts in front of your high school or college combo. The flexible instrumentation provides many options for covering the parts; the arrangements are absolutely top notch; and you will never find a better value.Instrumentation:Line 1 (lead or harmony): Alto Sax Trumpet Soprano Sax Clarinet Flute VibesLine 2 (lead or harmony): Alto Sax Bari Sax Trumpet Soprano Sax Clarinet TromboneLine 3: Bari Sax Tenor Sax Trumpet TrombonePak #1 includes: On Green Dolphin Street; Killer Joe; My FunnyValentine; Bernie's Tune. (Note: This pak does not include a CD.)

This burnin’ funk chart is an outstanding follow-up to Vuono’s popular Calling Dr. Chops. Repetitive figures in the rhythm section make this one easier to learn than it sounds. Trumpet and tenor share the head before the full ensemble kicks in. A big unison sax feature gives your section an opportunity to stand up and get their groove on! (4:30)

Consider this great Frank Mantooth original for your contest or festival repertoire. The opening trumpet/bone chorale is an excellent intro before the up-tempo samba beat takes over. Frank features a small combo of tenor trumpet and bone on the head which should give you plenty of options for your solo section. Powerful block scoring sets up your drummer for some hot fills throughout. This pro-sounding chart has very reasonable range demands. A festival winner!

This latin jazz piece in Bb starts with unison sax and bone licks and quickly opens up to the full ensemble. The head features alto tenor and trumpet who also share the changes in the solo section. Optional timbale shaker and cowbell parts are included.

Grammy nominee Frank Mantooth offers this innovative arrangement of Perdido. The A section is presented as a half-time funk and the bridge as a double-time swing. Optional solos are written for alto 1 trumpet 4 and trombone 1. However Frank provides the opportunity to open this further to anyone familiar with the changes. A fresh sound of a classic standard!

This chart is written in a fast samba setting with flute trumpet and guitar lead on the head. An open drum solo and a hard-driving ending keeps this one smoking all the way. Optional 8va's can lower this to a grade 3.

What a great chart! The Sermon seamlessly integrates gospel rock jazz and Dixieland. The sax section is featured prominently throughout and the rest of the ensemble gets plenty of exciting material as well. The melody is a strong hook and is naturally developed throughout the chart including a short Dixieland section that includes an optional clarinet for a really authentic sound. This one is destined to become a bestseller!

This clever chart is unlike anything out there and really grooves! Based on Beethoven?s ever-popular für Elise this jazz waltz is based on a C minor blues progression with a shout chorus in 4/4. Optional vibraphone is included to give a little color to the typical jazz instrumentation. Don?t be one of the few that miss out on this one once you hear it you?ll be hooked!

Here's an eight-bar blues that features piano tenor and/or trumpet. The lead sax line can be covered by soprano or an optional flute part. The ending is written to feature your drummer in a wild solo fill.

There’s no riddle when it comes to the success of Rob Vuono’s jazz charts! His ability to create a complex sounding chart that is extremely easy to play makes this one a guaranteed winner. Starting off with a simple swing 2 feel the chart builds into a steady 4. A brief interlude drops the key down a half step before moving back up creating the illusion of a key change without one ever occurring! Fabulous writing by one of the top jazz arrangers in the country!

This piece was inspired by a photograph of jazz clubs on New York’s 52nd Street in the late 1940s. It has the sound and feel of some of the great standards of that era and incorporates elements of the classic big band style with bebop. Tenor sax has a written solo and changes. Along with the performance applications there are plenty of teaching opportunities in this one. (2:15)

Great medium-tempo funk that entertains and is fun to play. It opens with a tongue-in-cheek bari sax and bass bone soli with everyone involved in five short measures.

As the title suggests this one is hot! Based on an up-tempo blues this solid chart has a catchy riff and involves the full ensemble. With very limited ranges and approachable swinging rhythmic figures Front Burner Blues is within reach of even very young ensembles. Written solos with changes are provided for all instruments so feel free to open this one up. A great way to introduce your students to the blues and to feature your talented soloists! (2:45)

POD-Dans og Tegn i Luft for Ensemble was composed by Niels Rosing-Schow in 2015-16. Scored for Flute Clarinet Bassoon Harp Piano Violin Viola and Violoncello. Commissioned by The Danish Chamber Players for their 25-year Anniversary.Programme Note: A scenario from a park in Shanghai: a group of people dances to the crackling music from a ghetto blaster. Next to then a man is drawing Chinese characters on the street with a large brush dipped in water. The sound of the music comes and goes while the calligraphy soon evaporates in the warm air. Time hardly passes and makes itself present in analmost palpable way. The noise from the surrounding city threatens every now and then to destroy the poetic moment. At the appearance of a couple of guards the scene dissolves as from a magic touch as if nothing had happened. - Was this real at all? The music tries to reconstruct the memory of this imagery by putting together sound fragments of the scenario. But will the futile image appear? Or is it just the slight touch of melancholy from the memory which is left until it dissolves as signs in the air. Niels Rosing-Schow April 2016