Arranged by Daniel Kelley. For Flute (or Oboe or Violin) and Cello (or Bassoon). Duets. Music for Two. Gilbert & Sullivan, Irish, Rags. Level: Intermediate/Advanced. Score with 2 parts. Published by Last Resort Music Publishing.

By Various. Arranged by Daniel Kelley. For Score (parts 1-4 in C). Quartets. Intermediate Music for Four. Classical. Intermediate. Score

Sadness. By Christopher Caliendo. For Flute, Harp. This edition: Score and Parts. Tango. Level: HS, College. Duration 4:53. Published by Caliendo World Music Publishing, Inc.

2 flutes

SKU: M7.ART-42039

6 Jazz-Playalongs. Composed by Hans-Jörg Fischer and Rolf Breyer. Score with online audio files. Performance score. 64 pages. MDS (Music Distribution Services) #ART 42039. Published by MDS (Music Distribution Services) (M7.ART-42039).

ISBN 9783866420397.

Die Fortsetzung macht das Dutzend voll. Ob alleine, mit Playalong-Begleitung oder im Duett bringen diese sechs Stücke dem fortgeschrittenen Flötisten die wichtigsten Jazzstile nahe. Er erlernt damit mühelos Phrasierung, Rhythmik und Groove des Jazz. Die fantastisch klingenden Playalongs wurden in einer aufwendigen Produktion von einer echten Band eingespielt und bieten ein einzigartiges Mitspielvergnügen. Die verschiedenen Jazz-Stilistiken im relaxten Tempo machen das Erlernen von Grundlagen der Improvisation zum wahren Kinderspiel.

Flute; Violin - Beginner

SKU: LM.29600

Score. 36+19 pages. Editions Henry Lemoine #29600. Published by Editions Henry Lemoine (LM.29600).

ISBN 9790230996006. 230x310 inches. Francais.

Instrumental Music.

Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Marimba, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal, Tam-tam, Trombone 1 and more.

SKU: PR.11641963S

Composed by Chen Yi. Full score. 58 pages. Duration 20 minutes. Theodore Presser Company #116-41963S. Published by Theodore Presser Company (PR.11641963S).

UPC: 680160684472.

The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.

Soloist(s) with Concert Band (Solo Bb Clarinet, 1st Flute, 2nd Flute/Oboe, 1st Bb Clarinet, 2nd Bb Clarinet, Eb Alto Saxophone*, Bb Tenor Saxophone*, Eb Baritone Saxophone*, 1st Trumpet, 2nd Trumpet, 1st F Horn, 2nd F Horn, Trombone, Euphonium, (TC Baritone), Tuba, Piano*, Parts marke) - grade 2

SKU: CN.S11297

Clarinet Feature. Composed by Wolfgang Amadeus Mozart. Arranged by Stuart Johnson. Score only. Duration 5:00. Published by G & M Brand Music Publishers (CN.S11297).

Stuart Johnson has arranged and adapted the first movement of this much loved Mozart piano sonata (KV 282) to create a delightful and welcome addition to the clarinet repertoire. The accompaniment is lightly scored for small wind band. Primarily this is to create a classical feel which reflects the style of the music.

Stuart Johnson has arranged and adapted the first movement of this much loved Mozart piano sonata (KV 282) to create a delightful and welcome addition to the clarinet repertoire. The accompaniment is lightly scored for small wind band. Primarily this is to create a classical feel which reflects the style of the music. However, larger bands may wish to place the piece strategically in the program to give the heavy brass a rest. To this end, directors may also prefer to use single players on the brass and saxophone parts which would also help to give and orchestral feel to the performance.

Soloist(s) with Concert Band (Flute 1, Flute 2, Flute 3/Piccolo, Oboe, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Eb Alto Clarinet*, Bb Bass Clarinet*, Bassoon, Eb Alto Saxophone 1, Eb Alto Saxophone 2*, Bb Tenor Saxophone, Eb Baritone Saxophone*, Bb Cornet 1, Bb Cornet) - grade 4

SKU: CN.S11284

Percussion Section Feature. Composed by Stuart Johnson. Band Music. Score only. Duration 4:10. Published by G & M Brand Music Publishers (CN.S11284).

Give the band a workout with this challenging composition. Subtle percussion used in unique scoring that features the entire band. Very accessible yet dramatic piece.

Though not without opportunities for displays of virtuosity, this work is not a concerto. In fact, Percussion Perspectives I is the first movement of a three-movement suite for wind orchestra which features percussion, although it stands on its own as a concert piece. However, unlike many percussion pieces, which tend to be lightweight in style, I have tried to provide a serious repertoire piece which happens to contain prominent parts for percussion instruments. When composing the piece I reversed my usual process of writing the music and then adding percussion parts to provide extra colour and reinforcement of rhythmic ideas. In this composition the ideas were conceived first for percussion and then translated into melody and harmony by the other instruments. In face there are several places in the score where this process is transparent, with the percussion expounding the ideas before they are taken up by the wind instruments. The leading roles are taken by timpani and side drum with a significant contribution from glockenspiel and xylophone. In addition to these major players a panoply of other percussion instruments are used ranging from agogos to vibraslap.

5 melody instruments, percussion - easy to intermediate

SKU: M7.NOR-6610249-34

Composed by Duke Ellington. Arranged by Inge Sunde. Sheet music. Score and parts, Flex 5. Duration 3'. Handelsware #NOR 6610249-34. Published by Handelsware (M7.NOR-6610249-34).

I'm beginning to see the light is one of the classic jazz standards, first published in 1944. The song became very famous by singers like Ella Fitzgerald, Peggy Lee and Frank Sinatra. Here is an effective and bouncing arrangement playable for groups of down to five musicians.

Part 1 in C: Flute, Oboe
Part 1 in Eb: Eb Clarinet, Eb Cornet
Part 1 in Bb: Bb Clarinet, Soprano Saxophone, Bb Trumpet, Bb Cornet, Flugelhorn
Part 2 in Bb: Bb Clarinet, Bb Trumpet, Bb Cornet, Flugelhorn
Part 2 in Eb: Alto Saxophone, Alto Clarinet, Eb Alto Horn
Part 3 in Eb: Alto Saxophone, Alto Clarinet, Eb Alto Horn
Part 3 in F: F Horn
Part 3 in Bb: Tenor Saxophone, Bb Tenor Horn, Baritone/Euphonium
Part 3 in C (B.C.): Trombone, Baritone/Euphonium (B.C.)
Part 4 in Bb: Tenor Saxophone, Bass Clarine,t Bb Tenor Horn, Baritone/Euphonium
Part 4 in C (B.C.): Bassoon, Trombone, Baritone/Euphonium (B.C.)
Part 5 in Eb: Baritone Saxophone, Eb Tuba (T.C.)
Part 5 in Bb: Bb Tuba (T.C.)
Part 5 in C (B.C.): Bassoon Tuba (B.C.)
(Part 5 w/chords): Electric Bass, Accoustic String Bass
Keyboards ( Piano, Synthesizer etc. ) or Guitar

Additional parts
Drums, Drum Set (for one player)
or separated (B.D., S.D., Cymbals, add. percussion) - for min. 3 players
Bells, Xylophone or other melodic percussion can use Part 1 in C.

Concert band (Piccolo Flute 1 Flute 2 Oboe 1/2 Bassoon 1/2 E-flat Clarinet B-flat Clarinet 1 B-flat Clarinet 2 B-flat Clarinet 3 Alto Clarinet Bass Clarinet Alto Saxophone 1/2 Tenor Saxophone Baritone Saxophone Cornet 1 Cornet 2 Cornet 3 B-flat Trumpet 1 B-flat Trumpet) - grade 5

SKU: CN.S11311

Composed by Paul Hart. Score only. Duration 10:15. Published by G & M Brand Music Publishers (CN.S11311).

-Some time ago Charles Hine, a dear friend, asked me 'Isn't it about time you wrote a Czardas?' It wasn't such a silly idea. I'd studied violin as a child and having learnt numerous show pieces in that style I felt quite at home with the genre. Later in my youth I was lucky enough to work occasionally as accompanist to a lovely lady & singer Eve Boswell, who was partly Hungarian, and was generous enough to give me further insight into the nature of Czardas. Whilst the Wind Ensemble is not the instrumentation one might expect for such a piece the form is traditional, albeit rather more long-winded than some of the fiddle 'lollypops'.' - Paul Hart.

Band Bass Clarinet, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Drum Set, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion, Oboe, Piccolo, Timpani, Trombone 1, Trombone 2, Trombone 3, Trumpet 1 and more. - Grade 4

SKU: CF.SPS53F

Composed by Harry Carroll. Arranged by Jerry Nowak. SWS. Patriotic. Full score. With Standard notation. 20 pages. Duration 3 minutes, 26 seconds. Carl Fischer Music #SPS53F. Published by Carl Fischer Music (CF.SPS53F).

ISBN 9780825888557. UPC: 798408088552. 9x12 inches.

The standard popular song by Harry Carroll is given a full-blown pops concert style treatment by arranger Jerry Nowak. In the hands of a master arranger, this classy ballad will delight audiences and give your musicians the opportunity to flex their jazz muscles. This is perfect for a pops concert or for community bands.

By Christian Gottlob Neefe [Wolfgang Amadeus Mozart]. Edited by Dmitry Rachmanov. For Piano. Book; Duet or Duo; Masterworks; Piano Duet (1 Piano, 4 Hands). Alfred Masterwork Edition. Classical; Masterwork; Recital. Advanced. 52 pages. Published by Alfred Music

By Claude Debussy (1862-1918). Arranged by Michael Brand. For Concert Band (Flute 1/Piccolo, Flute 2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Eb Alto Clarinet, Bb Bas Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet/Cornet 1, Bb Trumpet/Cornet 2, Bb Trumpet/Cornet 3, Horn i). Band Music. Grade 3.5. Score. Duration 2:30. Published by G and M Brand Music Publishers

Flute, violin and cello

SKU: M7.KECF-151

5 Musical Pearls. Arranged by Peter Bernard Smith. This edition: Saddle-wire stitching. Sheet music. Score and parts. 44 pages. MDS (Music Distribution Services) #KECF 151. Published by MDS (Music Distribution Services) (M7.KECF-151).

ISBN 9790502361518. German English.

This Edition contains five classical Slavonic pieces.