Blaues Meer und Warmer Wind-Mary Roos' Sommer und Blaues Meer Und Warmer Wind for ensemble.

Vierstimmige einfache Kammermusik-Arrangements mit einem Solisten-Elementary chamber music arrangements of well-known classics with an optional supporting piano accompaniment. These pieces make ideal concert items and are also suitable for music festivals.

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

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

W.C. Handy's immortal classic is reborn in this solid arrangement. It includes a piano and bass part completely written out for the young or developing player. Solos are also provided with optional changes above the written part. As usual Larry has provided helpful rehearsal suggestions for the director as well.

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)

Nat King Cole's 50s classic is beautifully scored here by 'Tooth and features solo bone and tenor against a rich harmonic background. Very reasonable ranges with no changes needed. Highly recommended!

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)

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.

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)

Here is a riff-based selection in the classic big band tradition. Reminiscent of the popular hot dance music of the ‘40s this chart is guaranteed to please (and maybe even crowd the dance floor!). There is plenty of room here for your best soloists to stretch out (and optional solos are provided). A series of ever intensifying riffs keep building to the end making this one cook all the way. Outstanding!

Reminiscent of a patriotic Kenton arrangement this chart is great to use for your spring concert. Also ideal to change the pace of your standard jazz repertoire. Great sounds!

Listeners will enjoy the straight ahead ensemble blowing on this holiday standard. The head is heard first with alto and two trumpets and passed around the ensemble so everyone gets into playing the lead line. This medium-easy swinger will keep your audience toe-tapping all the way home.

Take a trip to the Bahamas with this authentic sounding Raggae chart by Chris Sharp. Here is a great tool for expanding your rhythm section’s ability to master different styles while providing a lot of audience appeal at the same time. A wonderful way to add some variety to your next program!

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!