Sing - Perfect - Shape of You. Par SHEERAN ED / PHILIPS EMMA. Ed Sheeran est un des artistes britanniques les plus populaires de la présente décennie, toutes ses compositions ayant eu un succès fou dans presque tous les pays européens. Emma Philips a choisi trois de ses plus grands tubes pour en créer un arrangement facile pour quatuor, à savoir : ' Sing ', ' Perfect ' et ' Shape of You '. Tout simplement parfait pour n'importe quel type d'ensemble ! / Date parution : 2019-10-31/ Recueil / Quatuor de Cuivres

Par PRIMA LOUIS. Sing, Sing Sing', écrite en 1936 par Louis Prima, est devenue l'une des chansons définitifs de l'époque Swing et de big band. Bien qu'écrit par Prima, il est souvent plus associée de Benny Goodman. Facilement accessible à un public de concert en raison de sa structure de pauses de tambour voyantes et big beat, cet arrangement par Mark Freeh est une inclusion Bienvenue dans tout programme de concert./ Répertoire / Brass Band

Composée par Auteurs Divers la partition Hark ! The angels sing est éditée par les célèbres éditions françaises Robert Martin sous la référence SL10184.De ce fait, si vous êtes un grand amateur de Musique de Chambre et encore plus de Quintette De Cuivres vous trouverez dans cette pièce tout ce que vous cherchez. Alors plus que quelques clics et cette partition vous appartiendra!!! / Quintette De Cuivres / Partition

Plus grands hymnes contient des hymnes de partout dans le monde. Ils sont délicieusement disposés dans les milieux frais par certains des arrangeurs avant tout dans le domaine instrumental. Le CD d'accompagnement (inclu dans le livre solo) offre une performance de démonstration de chaque solo. Il permet également la soliste à la pratique ou accomplir avec le CD lorsqu'un accompagnateur n'est pas disponible. Contient : Amazing Grace, O pour mille Tongues à Sing, Saintes, Holy Holy, doucement et tendrement et autres / Trompette / 24 pages / niveau : Elémentaire / Partition Cd

24 beautiful, well-known standards in keys comfortable for most female singers. The first-class rhythm section plays each song with a special sensitivity and with the singer in mind, including intros that help orient the singer to the melody. Special stereo separation allows piano playing singers to eliminate the piano track and play/sing along with the bass and drums. Book includes lyrics written over the melody notes and chord changes. It Had to be You (Eb) - A Foggy Day (C) - Alone Together (A minor) - Body and Soul (Bb) - But Not for Me (Bb) - Bye Bye Blackbird (C) - Days of Wine and Roses (C) - East of the Sun (Eb) - Fool's Rush In (G) - I Cover the Waterfront (Eb) - I Thought About You (C) - Love For Sale (Fminor) - Misty (C) - My Funny Valentine (A minor) - September in the Rain (C) - Skylark (C) - Stardust (Ab) - Stars Fell on Alabama (Ab) - Summertime (D) - That's All (Ab) - Time after Time (Ab) - What is This Thing Called Love? (G) - What's New (G) - You Go To My Head (C)Support média : Compact discLangue : en anglais

For use with all Bb, Eb, Bass Clef and C instruments, the Hal Leonard Blues Play-Along Series is the ultimate jamming tool for all blues musicians. With easy-to-read lead sheets, and other split-track choices on the included CD, these first-of-a-kind packages will bring your local blues jam right into your house!Each song on the CD includes two tracks: a full stereo mix, and a split track mix with removable Guitar, Bass, Piano, and Harmonica parts. 8 songs: Ain't No Sunshine - As the Years Go Passing By - Darlin' You Know I Love You - Have You Ever Loved a Woman - I'd Rather Go Blind - Somebody Loan Me a Dime - Third Degree - Three Hours past Midnight. / Tout Instrument

Arrangeur: Eric J. Hovi. Par HOVI ERIC J.. Dans le film du même titre, sorti en 1952, l'interprétation de cette chanson par Gene Kelly a séduit une multitude d'auditeurs au fil des années. ' Singin' in the Rain ' est parfaite pour tout type de quatuor, et Eic J. Hovi en a créé un arrangement facile pour quatuor de cuivres qui reste fidèle à l'esprit de la version originale. / Niveau : Elémentaire à Moyen / Date parution : 2019-11-21/ Recueil / Quatuor de Cuivres

Un album idéal pour les concerts d'enseignement ou de courte durée.Comprend: Love Me Tender, Au clair de la Lune, Sur le pont, Yankee Doodle, Old MacDonald, Polly Wolly Doodle, Chambre si le Rising Sun, Amazing Grace et When the Saints et bien d'autres. / 2 Trompettes Et Trombone / 32 pages / niveau : Très Facile / Partition

Sound Innovations: Ensemble Development for Young Concert Band is a complete curriculum for beginning band students to help them grow as ensemble musicians. The series complements any band method and supplements any performance music. It contains 167 exercises, including more than 100 chorales by some of today's most renowned young band composers. Various exercises at the grade 1/2, 1, and 1 1/2 levels are grouped by key, including: * Long Tones* Passing the Tonic* Pitch Matching* Scale Builders* Interval Builders* Expanding Intervals* Chord Builders* Moving Chord Tones* Diatonic Harmony* Rhythmic Subdivision* 5-Note Scales* Scale Canons (5-, 6-, or 8-Note Scales)* Scale Chorales (5-, 6-, and 8-Note Scales) * ChoralesThe compositions were written by Roland Barrett, Chris Bernotas, Jodie Blackshaw, Matt Conaway, Ralph Ford, Tyler S. Grant, Rob Grice, John O'Reilly, Robert Sheldon, Todd Stalter, Randall Standridge, Michael Story, and Scott Watson. Whether your students are progressing through exercises to better their technical facility, or improving their musicianship with beautiful chorales, we are confident your performers will be excited, motivated, and inspired by using Sound Innovations: Ensemble Development for Young Concert Band. / Trompette

Arrangeur: Philip Sparke. Par RYAN PAUL. Paul and Barry Ryan were identical twin sons of 1950’s pop singer Marion Ryan and were born on 24th October 1948. They were groomed for stardom and had started singing as a duo before their fifteenth birthday. They were signed by Decca in 1965 and brilliantly marketed as clean-cut fashion icons. Their first single ‘Don’t Bring Me Your Heartaches’ reached the UK top twenty but their success as twin performers lasted only three years. In 1968 Barry embarked on a solo career while Paul concentrated on writing and producing. Eloise with its melodramatic vocal style and heavily orchestrated backing was an early success of this new collaboration and went on to be covered by a variety ofartists, including punk legends The Damned. / Niveau : 4 / Pop and rock / Recueil / Brass Band

Par BULLA STEPHEN. Stephen Bullas highly descriptive work was written to commemorate the 50th anniversary of the Battle of Iwo Jima, which took place between the 19th February and 26th March 1945. Casualties on both the American and Japanese sides were horrendously high before the famous image of the raising of the flag on top of Mount Suribachi signalled the end of one of the most significant and terrifying Pacific conflicts of the SecondWorld War. The work received its first performance by the brass choir of the U. S. Marine Band at the National Cathedral in Washington D. C. and is divided into four programmatic sections. The first portrays the sense of anticipation before conflict (Prologue), before the arduous journey to the scene of the battle (Approach by Sea) is followed by introspection and prayer featuring the hymn tune Melita (Chorale Prayer), andfinally, the hostile confrontation itself (Engagement). There are frequent references to the Marines Hymn and the US National Anthem, particularly in the closing bars, depicting the ultimate raising of the American flag. / Niveau : 4 / Pièce de concert / Répertoire / Brass Band

Par HIMES WILLIAM. This rousing, jubilant overture mixes five original themes with the well-known doxology Old Hundredth, which is also known as Praise God, from Whom All Blessings Flow. The hymn is presented in short lyrical, energetic motif fragments, which combine until the complete hymn is presented in the form of a chorale prelude. This is a wonderful and truly uplifting concert work. / Niveau : 4 / Répertoire / Brass Band

Par VAN DER ROOST JAN. Since most of the bands competing in the 4th Section of the Dutch National Championships have many young players, this piece is stylistically youthful especially in the opening and closing sections. An arpeggio pattern appears numerous times in all registers and is the basic musical element of the main melody, alternating with a second theme that has a slightly different melodic character. The middle section is conceived like a chorale, introduced and developed stepwise: firstly with short patterns and gradually in increasingly long snippets, until it’s played in its glorious entirety at measure 216. No real solo passages are included but rather small chambercombinations, thus offering the opportunity to various players to display their technical and performance skills. The finale recaptures musical material from the first section of the piece and provides a majestic conclusion. / Niveau : 4 / Pièce de concert / Répertoire / Brass Band

Par DE HAAN JACOB. In this composition, Jacob de Haan sees the 'Ross Roy' as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics. The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of 'Tempo di Marcia'. This movement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of 'passing through' the classes up to the final examinations. Then, the Ross Roy theme is dealt with again, now in aplayful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding. We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the 'overture' to the rest of one's life. / Niveau : 4 / Pièce de concert / Répertoire / Brass Band