In this composition William Vean takes you on a journey through the fascinating and exciting world of animals. Apart from it being a composition filled with 'special effects' Animal Kingdom contains many educational elements such as playing inswing (triplets feeling) chromatics flutter tonguing gypsy tuning varying keys and of course dynamics and articulation. The melodic lines occur in all four voices as well as in all percussion parts providing each musician with theopportunity to play a solo or to accompany. Highly recommended for your youth band! William Vean is an educational composer. He knows how to musically shape the special elements from our daily lives. His music is therefore veryexpressive containing creative solutions to possible problems. Special ways of playing make his music particularly interesting for the winds but the percussion section is also featured in his special effects. The world of the animalsalways plays on ones imagination. In Animal Kingdom William Vean has portrayed a number of animals in a special manner: Kevin Kangaroo - The jumping character of this animal can be heard in different voices. The swing style alsoemphasizes the characteristic movements of the kangaroo. Playing in swing style can be practised by using scales. Eddy Elephant - For some of his smaller fellow fauna friends this can be quite an ordeal but for Eduard (Eddy for friendsand intimates) it is his daily walk. Baldrick Bat - Baldrick the Bat is a mysterious character. This can be heard in the fast moving valves and keys accompanied by special effects in the percussion section. Curtis Camel - Curtisthe Camel trudges across the desert feeling bored. The idea that the horizon will never change does not affect him anymore. He has accepted his fate. The distinctive tones from the gypsy scale provide the suitable oriental sounds. BettyButterfly - Butterfly Betty elegantly and without worries flutters from flower to flower in the garden. Her motto: Carpe Diem (Seize the Day). Betty is a one-day butterfly. Marvin Monkey - A 'swing' monkey stirs up the feelings. Evenmembers of the orchestra will look like real monkeys. How about your audience? Each part has its own difficulties and challenges. Important in the first part is playing 'in swing' (triplets feeling). This can be practised usingscales. In the second part ensemble playing and balance are important. In Baldrick additional information on the effects that have to be played might be useful. 'New' sounds are of course welcome. Curtis the Camel introduces thegypsy scale. Additional explanation of the use of the scale might be useful. Key changes are interesting in this part. A slight accent on the first beat of the bar will add to the charm of this part. Marvin the Monkey brings back the swingrhythm that was introduced in the first part altern

A resource for all teachers and leaders involved in Wider Opportunities and group music-making.Written by two of the UK's leading music educationalists: Paul Harris and Leonora Davies MBE.Provides practical strategies and advice to enable class teachers instrumental teachers and music services to deliver a holistic primary music curriculum at Key Stage 2 and into Key Stage 3.Essential and unique; based on years of experience and thorough research; takes into account recent findings from Ofsted's 'Making More Of Music' report.Supports the five key aims of the Music Manifesto.Topics covered: Teacher roles; Basic principles of teachingbeginners; Differentiation; Expectations for achievement; Evaluatinf pupils' work; Transition and the relationship to the Key Stage 3 curriculum; Involving parents/carers; Creating and refining lesson plans and Trouble shooting.Also includes: 10 lesson plan exemplars for wind/brass and strings; starter repertoire and songs; enhanced CD comprising of backing tracks and PDF lesson plans.Supplementary material available online in association with Yamaha and Pure Solo.

Everybody is familiar with the zoo. Remember all those animals? Big ones small ones. Water dwellers air-bound birds long legged hoppers creeping bugs. All animals seem to have their own peculiarities. Now Carl Wittrock (who also composed the world-famous master piece 'Lord Tullamore') invites you to join him in a musical exploration of the animal kingdom. An invitation you must not reject! In his 'A view at the Zoo' Wittrock presents ten distinctly different animals as compositions of music. You may be familiar with some of those animals such as the white swan or the butterfly but there are also more exotic breeds like the lion the monkey or theelephant. The composition as a whole is built around a structure of shorter fragments reminiscent of 'The Paintings Exhibition' by Moussorgsky. The parts are decorated with recognizable illustrations of the different animals. At each composition Wittrock looks for something that can fascinate both musicians and listeners. In this he succeeded extremely well.

A music selection of key themes from Howard Shore’s film score to the 1997 blockbuster The Lord of the Rings: The Fellowship of the Ring arranged for brass band by Andrew Duncan.Brass Band Grade 4: Advanced Youth and 3rd Section Duration: 7 minutes

'The Alchymist's Journal' gets its title from the book of the same name by American author Evan S. Connell. The book fictionalises a number of famous Alchemist’s writings each one developing another's thoughts thus continuing one idea but changing it subtly to provide a new view point or way of thinking. This process is in fact alchemical as one idea transmutes into another. This idea is parallel to the processes at work within these variants. The whole work is constructed from 6 notes (C A B flat E flat F sharp E) and is presented in nine different sections each individual in mood but still based upon the original pitches. This is not a thematic set ofvariations as the themes are developed one at a time from small segments of the six notes. For example the opening theme is the complete number of pitches the second theme uses three notes transposed then repeated at the original level and so on. Harmonically the six notes can be divided into two triads A minor and E flat minor – each key beginning and ending the piece respectively. Whilst this is essentially abstract music with no programme there is an introduction menacing scherzo slow reflective section followed by a recap of the scherzo and final coda. 'The Alchymist’s Journal' was commissioned by the Brass Band Heritage Trust at the suggestion of Paul Hindmarsh to whom the work is dedicated.

South Down Pictures was commissioned by Millenium Brass 2000 an organisation comprising three brass bands from the county of Sussex England.The bands (Patcham Silver Hangleton and Brighton Silver) had got together to organise many events to mark the new millennium and these culminated in a concert in Hove Town Hall on July 9th 2000 when all three bands combined to give the first performance of South Down Pictures. The composer spent much of his childhood amongst the South Downs a range of hills in Sussex which runs parallel to the sea.Opening with a strong unison passage interrupted briefly by faster figures based on the interval of a fifth South Down Picturesdevelops with an often-passionate legato melody. Reaching a climax this is then followed by the main vivo section of the work whose main theme is based on the earlier ‘fifth’ figures. A bridge passage leads to a short chorale figure and a rhythmic climax which dissolves into a plaintive cornet solo over staccato chords. This theme is taken up by the whole band and leads back to a recapitulation of the main theme and earlier material. The cornet tune returns triumphantly in the major key before the opening unison passage reappears to provide a stirring coda.

Andrew Duncan has taken some key themes from the shown Grease! and made this fine brass band arrangement. Brass Band Grade 4: Advanced Youth and 3rd Section Duration: 4 minutes

for Flugel Horn Solo and Brass Band-Moon Song Sun Dance was commissioned by Flugel Horn virtuoso Claude Romailler and premiered by him at the Swiss National Solo and Quartet Championships in April 2012. As the title implies the work is in two contrasting movements which can be performed separately or together.Moon Song opens with a flowing modal theme which the soloist embellishes before the band takes centre stage. A central section brightens the mood with a new melody over the lightest of accompaniments; this is once again developed by the soloist until the original theme reappears played by the band. This introduces a cadenza for the soloist which either closes the movement or canbe extended to link directly to the second movement.Sun Dance is a vivace 6/8 scherzo which opens with a flourish from the band. The soloist then introduces the main theme which in turn is taken up by the band. A short bridge passage heralds a change of key and a new melody from the soloist. A brief central interlude then introduces a change of meter and recalls the main melody of Moon Song before a recapitulation leads to a florid coda which brings the work to a close.

En 1954 William ?Smokey? Robinson (1940) forme le groupe vocal soul The Miracles avec trois camarades du lycée. Quatre ans plus tard Smokey croise la route de Berry Gordy fondateur du label Tamla Motown qui va vite comprendre le potentiel de cet artiste qui compose aussi bien qu?il chante. Smokey Robinson & The Miracles permettront à la Motown de devenir une valeur sûre dans le monde de la musique. Le groupe va survoler le haut des hit-parades durant toutes les années 60. En 1967 ils sortent leur plus grand succès Tears Of A Clown co-écrit avec Stevie Wonder.

Eb Horn Solo-Aria was commissioned by and written for the remarkable Tenor Horn player Sheona White. The work opens with an accompanied recitative which leads to a change of key where the main melody is presented. This in turn serves as an introduction to another melodic idea marked calmato. The band takes up this theme and then takes centre stage with a passionate repeat of the main theme which is completed by the soloist. A Cornet then plays the calmato theme against which the soloist plays a counter melody. This leads to a return of the opening recitative which brings the work to a peaceful close. A fantastic new addition to the solo repertoire for this much neglectedsolo instrument.

Shalom Chaverim is an ancient Hebrew (farewell)song which was originally sung at the end of a celebration or meeting. It was and is mostly sung as a round. Freely translated the words mean ?Goodbye friends goodbye and see you again!?. The varying moods at a parting have been captured very well by Andreas Schulte in his arrangement ?Variations on Shalom Chaverim?. The composer himself says about the song ?Although the melody is in a minor key the overall atmosphere in the song is positive. one wishes each other all the best. Saying goodbye however also hurts. When you slow down the pace of the melody and add ?blue notes? in the harmonies this can be sensed immediately.?Schulte refers here to the first variation. The second variation is very intense with possibly even deeper-felt emotions. ?Variations on Shalom Chaverim? ends on a cheerful and positive note in fast tempo and with oriental elements in the melody: ?L'hitra'ot Shalom? (See you again and farewell!).

A Bandsman’s Overture was commissioned by British Bandsman magazine to celebrate its 125th anniversary in 2012.It was premiered by Black Dyke Band conducted by Dr Nicholas Childs at a special anniversary concert held in Symphony Hall Birmingham on July 1st.British Bandsman was for a period known as British Bandsman and Contest Field following an amalgamation of two magazines. The then owner John Henry Iles celebrated this new title by commissioning Ord Hume to write the famous march  BB & CF. As a salute to this heritage A Bandsman’s Overture starts with thefour notes B(b)-B(b)-C-F a motive which permeates an opening fanfare which contrasts a busy opening with a more legato central section.This gives way to a bustling Vivo based on repeated staccato notes. A change of key heralds a central cantabile melody first on euphoniums and baritone and then played by the full band which is followed by a short development section. This leads to a transformed reprise and a return of the opening fanfare decorated this time by florid muted cornets.

Spiritual-The score for this upbeat spiritual is arranged in the key of C. Douglas Smith has arranged this piece for two B flat trumpet/cornet a trombone/baritone/horn in F and a trombone/baritone with optional tuba.