Glitter and glamour good-looking people a lot of Bling Bling and fast cars ? images like these will cross our minds when we think of the movie world. However reality proves to be different : as a rule a tremendous amount of work will have been done on the set before a film is ready to be shown on the big screen. A visit to an actual movie set inspired John Emerson Blackstone to write a composition bearing the same name. He had both seen a number of characteristic attributes and heard the typical phrases used in film making and he incorporated them into ?On the Movie Set? . In the first part ?The Clapboard? a ?director?s assistant? is supposed to shout ?Quieton the set?? and ?Action!? as is done before a real scene is shot. Subsequently in order to create the right atmosphere the clacking of a ?Clapboard? should be heard. During a romantic scene we should be transported to another world by means of sweet sounds in the background so romantic music is of course heard in the next part ?Love Scene?. At the end of a long working day ?It?s a wrap? is called on the set to inform everyone that the filming on that day is completed. Now there is only one more thing left to dream of : an Oscar..... Perf. Note: The use of the right props will add to the performance and appreciation of ?On the Movie Set?. A red carpet and a glamorous reception should give your audience the feeling they are attending a real ?opening night?!

Born in 1905 Harold Arlen fell in love with music at an early age. Having written songs for Cab Calloway Bing Crosby Betty Hutton and many others Arlen was truly a master of his craft. Pay tribute with this 14-minute medley divided into four sections that may be performed separately if desired. Includes: Ac-cent-tchu-ate the Positive Come Rain or Come Shine Get Happy It's Only a Paper Moon Stormy Weather (Keeps Rainin' All the Time) and That Old Black Magic.Available separately: SATB SAB and SSA. ShowTrax CD and I-Pak also available. Performance time approx. 14 min.

La chanteuse Alison Moyet est repérée au début des années 1980 par Vince Clarke alors à la recherche d?une plus grande indépendance : il a quitté son célèbre groupe Depeche Mode. La voix mélancolique d?Alison Moyet et la musique pop électronique innovante de Vince Clarke s?unissent au sein du groupe Yazoo dont des chansons comme Only You et Don?t Go rencontrent un vif succès. Quelques années après Alison Moyet décide néanmoins de suivre son propre chemin et se lance dans une carrière solo au cours de laquelle elle développe un style plus conventionnel. Elle enregistre plusieurs reprises telles que The First Time I Ever Saw Your Face et That Ole Devil CalledLove mais compose aussi de superbes titres tels que Love Resurrection et bien entendu All Cried Out une chanson particulièrement expressive. L?arrangement de Peter Kleine Schaars reste très fidèle à l?ambiance de la chanson d?origine.

In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Harmonie

Fun for all!! The chorale style opening soon turns into a rousing funky-jazzy-gospel riff-style roof-raiser that will have your audience tapping along. It's nice for the concert band to get the opportunity to play something 'jazzy' once in a while and you know the audience will love it as much as the band does.Plenty of opportunity to study jazz-style phrasing in the concert band interesting Percussion parts a catchy tune and good linear motion for all move GETTIN' GOSPEL to the 'top of the list'. The only danger here is that the band might like it a little TOO much and want to play it every day.

Stars on Fire. "To be born under a lucky star", ?To have stars in your eyes?, ?To be someone?s lucky star?, as well as ?To be all fired up?, ?To set the world on fire? and ?To be on fire with love? ? all of these are expressions that inspired Marc Jeanbourquin to compose Stars on Fire. Indeed, combining fire and stars could only produce a piece full of positive energy, of good vibrations, with a sparkling theme that is heard right from the first bars all the way up to its explosive finale. This makes Stars on Fire an ideal piece to open a concert.

Whereas ‘Auld Lang Syne’ may be considered the best-known Scottish song ever yet at the same time it is an obscure one for there are but few people who know the complete text by heart. After the familiar ‘Should auld acquaintance be forgot .....‘ many people take their refuge to lyrics like ‘rum tee dum ta dee ..... lah lah lah ........... for auld lang syne’. Even in Scotland only a handful of persons know the entire text and are able to give a correct rendering of it. The current lyrics have been attributed to the Scottish poet Robert Burns. Burns however he did not write the whole poem : after he had heard an old man sing the centuries-old Scotchballad he wrote it down and added a number of stanzas (1788). Historical research teaches us that the ballad served many purposes both political and religious. Nowadays ‘Auld Lang Syne’ is sung as a Christmas Carol and it is also sung on New Year’s Eve at the turning of the year. Apart from that though the song is also sung on many other occasions – sometimes with different lyrics which usually have Love Friendship and/or Parting as their themes as these go well with the fascinating melody. In this arrangement a low-sounding solo instrument is central. The harmonization in the accompaniment fits in perfectly with the sentiments this song will evoke. Should auld acquaintance be forgot And never brought to mind? Should auld acquintance be forgot. And days of auld lang syne? For auld lang syne my dear For auld lang syne We’ll take a cup of kindness yet For auld lang syne.

from the Paramount Television Series JAG-How about a hit TV theme that's not only a march but also features trumpets and drums! This music writes itself for young concert band. Your kids will love it!

Grade 1 - Score Only-An expressive new work for the young band's concert or festival! Lovely simple counter-lines accentuate the flowing and drifting melody. An ideal choice for a festival contest Walden Pond allows each section to beimportant and expressive in assorted ways letting you clearly show the adjudicators your young band's range of capabilities. As a concert piece it works as a lovely contrast to the other works you choose to program. (Grade 1)

Any list of Mozart's greatest works should include this overture. Loved by millions Mozart's Magic Flute is remarkable for so many reasons and worthy of study by every musician! Why should we deny young band students the joy of playing Mozart just because they don't happen to use a bow on their instruments? Mozart belongs to Everyone! Skillfully brought to the concert band stage by an arranger who works with young bands daily this somewhat shortened version of the enigmatic Overture is accessible to young bands but retains a great deal of authenticity. There is added versatility built into this arrangement. A nice performance is possible by using a completeWoodwind section and a Timpanist only. Inspiring!>/I>