By Sigismondo D'India (1582-1629). Edited by John Steele and Suzanne Court. For ...(+)
By Sigismondo D'India
(1582-1629). Edited by
John Steele and Suzanne
Court. For 5 mixed
voices. Madrigal.
Renaissance Voices.
Collection. Text
Language: Italian.
Published by Gaudia Music
and Arts Publications
Soar Away Chorale SATB SATB divisi, A Cappella Laurendale Associates
Composed by A. M. Cagle and George Clinton. Arranged by George Clinton. Octavo. ...(+)
Composed by A. M. Cagle
and George Clinton.
Arranged by George
Clinton. Octavo. Duration
2 minutes. Laurendale
Associates #CH-1024.
Published by Laurendale
Associates (MN.CH-1024).
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1155660-010 You Know Iâ??...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1155660-010
You Know Iâ??m No
Good, Valerie, Love Is a
Losing Game, Back to
Black, Rehab.
Composed by Amy
Winehouse. Arranged by
Peter Kleine Schaars.
Peter's Popular
Collection. Concert
Piece. Set (Score and
Parts). Composed 2015. De
Haske Publications #DHP
1155660-010. Published by
De Haske Publications
(BT.DHP-1155660-010).
English-German-French-
Dutch.
On July 23
2011, the news of the
death of Amy Winehouse
shocked the entire world.
What could have been one
of the most impressive
careers in the history of
pop and modern soul, was
halted by a tragic event
which no one will forget.
The best way tohonour Amy
Winehouse now is through
her music. A Tribute
to Amy Winehouse
includes all of the songs
which earned her cult
status and made her
unforgettable You Know
Iâ??m No Good, Valerie,
Love Is a Losing Game,
Back to Black
andRehab.
Op 23 juli 2011
werd de wereld
opgeschrikt door het
nieuws over de dood van
Amy Winehouse. Aan wat
een van de meest
indrukwekkende
carrières in de
geschiedenis van de pop
en moderne soul had
kunnen worden, kwam op
tragische wijze een eind.
De bestemanier om Amy
Winehouse nu in ere te
houden, is door middel
van haar muziek. A
Tribute to Amy
Winehouse omvat alle
songs waarmee ze haar
cultstatus verwierf en
waardoor ze onvergetelijk
werd: You Know Iâ??m
No Good, Valerie, Love Is
a LosingGame, Back to
Black en
Rehab.
Die
Nachricht vom Tod Amy
Winehouses am 23. Juli
2011 schockierte die
ganze Welt. Was die
beeindruckendste Karriere
in der Geschichte der
Pop- und modernen
Soulmusik hätte werden
können, wurde durch
ein tragisches Ereignis
beendet, das
niemandvergessen wird.
Man kann Amy Winehouse am
besten mit ihrer Musik
ehren. A Tribute to
Amy Winehouse umfasst
alle Songs, durch die sie
Kultstatus erreicht hat
und die sie unvergesslich
machen You Know Iâ??m
No Good, Valerie, Love Is
a LosingGame, Back to
Black und
Rehab.
Il
23 luglio 2011
lâ??improvvisa scomparsa
di Amy Winehouse
sconvolse il mondo
intero. La sua morte ha
stroncato una delle
più promettenti
carriere della storia del
modern soul. Solo
attraverso la sua musica
è possibile tenere
viva la fiamma
creativadella popstar
britannica. Per questo
è stato pensato A
Tribute to Amy
Winehouse è un
medley che raccoglie le
canzoni che ne hanno reso
la breve quanto intensa
carriera indimenticabile:
You Know Iâ??m No
Good, Valerie,
Love Is aLosing
Game, Back to
Black and
Rehab.
Suite. Composed by
Geoffrey Brand. Arranged
by Geoffrey Brand. Band
Music. Score only.
Duration 8:10. Published
by G & M Brand Music
Publishers (CN.S11220).
Wit, warmth,
charm, beautiful melody,
vivacity; all of these,
and more are abundantly
evident. No wonder Jeuz
d'enfants has been rated
as a little masterpiece.
Each of the three
included movements is
complete within itself
and playable separately;
together the contrasting
styles and moods create
an attractive Concert
Suite.
Jeuz
d'enfants was originally
written in 1871 as a
Suite of twelve pieces
for piano duet. Two years
later, Bizet scored five
of the pieces for
orchestra to create a
Petite Suite. Each
movement shows Bizet's
enormous skill as a
miniaturist, the music
exuding a concentration
of power and atmosphere.
Wit, warmth, charm,
beautiful melody,
vivacity; all of these,
and more are abundantly
evident. No wonder Jeuz
d'enfants has been rated
as a little masterpiece.
Three of the movements
are included in this
arrangement. Each is
complete within itself
and playable separately;
together the contrasting
styles and moods create
an attractive Concert
Suite. 1) Marche -
Trompette and Tambour
(Trumpet and Drum) 2) Duo
- Petit Mari, Petite
Femme (Little Husband,
Little Wife) 3) Galop -
Le Bal (The Ball).
Suite. Composed by
Geoffrey Brand. Arranged
by Geoffrey Brand. Band
Music. Score and parts.
Duration 8:10. Published
by G & M Brand Music
Publishers (CN.R10220).
Wit, warmth,
charm, beautiful melody,
vivacity; all of these,
and more are abundantly
evident. No wonder Jeuz
d'enfants has been rated
as a little masterpiece.
Each of the three
included movements is
complete within itself
and playable separately;
together the contrasting
styles and moods create
an attractive Concert
Suite.
Jeuz
d'enfants was originally
written in 1871 as a
Suite of twelve pieces
for piano duet. Two years
later, Bizet scored five
of the pieces for
orchestra to create a
Petite Suite. Each
movement shows Bizet's
enormous skill as a
miniaturist, the music
exuding a concentration
of power and atmosphere.
Wit, warmth, charm,
beautiful melody,
vivacity; all of these,
and more are abundantly
evident. No wonder Jeuz
d'enfants has been rated
as a little masterpiece.
Three of the movements
are included in this
arrangement. Each is
complete within itself
and playable separately;
together the contrasting
styles and moods create
an attractive Concert
Suite. 1) Marche -
Trompette and Tambour
(Trumpet and Drum) 2) Duo
- Petit Mari, Petite
Femme (Little Husband,
Little Wife) 3) Galop -
Le Bal (The Ball).
Composed by
John Ireland. Band Music.
Score and parts. Duration
10:00. Published by G & M
Brand Music Publishers
(CN.R10011).
Cast your self
into a storm at sea with
this fantastic piece from
John Ireland. Turbulent
rhythmic motives launch
the work to blend into a
more lyrical melody
contrasting the opening.
Don't be fooled though;
the first rhythmic motive
provides the underlay, a
reminder that the calm
surface of the sea is
only masking the swirling
water
underneath!
A
Maritime Overture was
written in 1944 and
published in 1946. This
edition was published in
1988. The score was
prepared from the
composer's full draft by
Norman Richardson, and
uses the same material as
Tritons - a Symphonic
Prelude for orchestra
dating from the early
1900s. The development of
the material however is
different in each piece.
The work is conceived in
F major - but it is 24
bars before Ireland
establishes this
tonality. Fortissimo
chords of B-flat major
open the work, and the
Overture hovers between G
minor and B-flat as a
restless rhythmic motif
is introduced. As soon as
F major is finally
established it is
contradicted as the music
fragments, but the key is
allowed a further 4 bars
to consolidate before
more lyrical interplay
leads to a second idea,
introduced by flutes and
oboes in C major. Marked
'espressivo e ben
cantando' this is a
complete contrast to the
opening, although the
first rhythmic motif
provides the underlay - a
reminder after the
opening storms that the
calm surface of the sea
is only masking the
swirling water
underneath. A Maritime
Overture has a freer
approach to form than say
the first movement of a
symphony might allow,
enabling Ireland to
introduce a totally new
central section marked
'poco meno mosso' in F
minor. A bold cornet (not
trumpet) heralds this new
idea, in a passage marked
'with freedom' and
perhaps for the only time
there is a true
tranquility in the
sextuplet accompaniment.
Thus the restlessness is
suspended, but not for
long, as the opening
storm returns and a
recapitulation allows the
F major theme and the
second theme - this time
in the sub-dominant
(B-flat) - to reassert
themselves.
Composed by
Stuart Johnson. Band
Music. Score only.
Duration 6:00. Published
by G & M Brand Music
Publishers (CN.S11103).
Before the days
of photography, the great
state occasions were
captured in paintings and
tapestries. In this
Suite, the composer has
imagined the pomp and
splendor of the English
court at work and play,
capturing each mood in a
short
movement.
Stuart
Johnson has the fine
ability to capture moods
and scenes in music. He
was born in
Staffordshire, the county
for which he was Director
of Music until his
retirement in 1997. After
experience as a player in
brass bands, he served in
the band of the King's
Dragoon Guards before
training as a teacher and
working in schools.
Following a period as a
lecturer at
Northumberland College of
Education he became Music
Adviser to the
Metropolitan District of
Sandwell prior to his
appointment to
Staffordshire. He has
long experience as a
conductor, particularly
in the choral and band
fields and also wide
experience as an
adjudicator and examiner.
He has written
prolifically for bands
and orchestras and his
didactic publications are
used in many countries.
He has over eighty
published compositions
and arrangements, many of
which have been broadcast
on radio or television.
His commissioned works
include the cantata David
and Goliath which was
first performed at the
Royal Festival Hall,
Oregon Overture for wind
orchestra, Landscapes,
Sinfonietta No 2, Wessex
Dances and A Castle
Suite. Stuart Johnson has
recently completed
several commissions,
funded by National
Lottery grants, for bands
in Cumbria, the Isle of
Wight, and Staffordshire.
Requiem for Soprano,
Chorus and Orchestra, was
premiered successfully in
front of a capacity
audience in Lichfield
Cathedral in March 1997,
and received its first
London performance at St.
John's Smith Square in
March 1998. This
prestigious venue also
saw the first performance
of Songs and Sonnets for
unaccompanied mixed choir
in 2001. Stuart Johnson
has written extensively
for the theatre, his
music for the production
of Anna of the Five Towns
was used for both the
radio and television
adaptations His music
ranges in style from the
evocative and demanding
Sinfonietta for Wind
Orchestra, which has
received many
performances since its
premiere in the Royal
Festival Hall, including
a broadcast by the Band
of the Scots Guards, to
his ubiquitous Bandstand
Boogie which has set feet
tapping all over the
world. Apart from the
latter his most performed
work is probably Circus
Suite which was the
British Youth Band
Championship test piece
in 1980. Northumbrian
Suite and Landscapes have
also been used as
National Brass Band
Championship test pieces.
The Flint Knappers
commissioned as a test
piece for the 1998 East
Anglian Band Festival was
selected as a test piece
for the 1999 Australian
Championships. Before the
days of photography, the
great state occasions
were captured in
paintings and tapestries.
In this Suite, the
composer has imagined the
pomp and splendor of the
English court at work and
play, capturing each mood
in a short movement.
Composed by
Stuart Johnson. Band
Music. Score and parts.
Duration 6:00. Published
by G & M Brand Music
Publishers (CN.R10103).
Before the days
of photography, the great
state occasions were
captured in paintings and
tapestries. In this
Suite, the composer has
imagined the pomp and
splendor of the English
court at work and play,
capturing each mood in a
short
movement.
Stuart
Johnson has the fine
ability to capture moods
and scenes in music. He
was born in
Staffordshire, the county
for which he was Director
of Music until his
retirement in 1997. After
experience as a player in
brass bands, he served in
the band of the King's
Dragoon Guards before
training as a teacher and
working in schools.
Following a period as a
lecturer at
Northumberland College of
Education he became Music
Adviser to the
Metropolitan District of
Sandwell prior to his
appointment to
Staffordshire. He has
long experience as a
conductor, particularly
in the choral and band
fields and also wide
experience as an
adjudicator and examiner.
He has written
prolifically for bands
and orchestras and his
didactic publications are
used in many countries.
He has over eighty
published compositions
and arrangements, many of
which have been broadcast
on radio or television.
His commissioned works
include the cantata David
and Goliath which was
first performed at the
Royal Festival Hall,
Oregon Overture for wind
orchestra, Landscapes,
Sinfonietta No 2, Wessex
Dances and A Castle
Suite. Stuart Johnson has
recently completed
several commissions,
funded by National
Lottery grants, for bands
in Cumbria, the Isle of
Wight, and Staffordshire.
Requiem for Soprano,
Chorus and Orchestra, was
premiered successfully in
front of a capacity
audience in Lichfield
Cathedral in March 1997,
and received its first
London performance at St.
John's Smith Square in
March 1998. This
prestigious venue also
saw the first performance
of Songs and Sonnets for
unaccompanied mixed choir
in 2001. Stuart Johnson
has written extensively
for the theatre, his
music for the production
of Anna of the Five Towns
was used for both the
radio and television
adaptations His music
ranges in style from the
evocative and demanding
Sinfonietta for Wind
Orchestra, which has
received many
performances since its
premiere in the Royal
Festival Hall, including
a broadcast by the Band
of the Scots Guards, to
his ubiquitous Bandstand
Boogie which has set feet
tapping all over the
world. Apart from the
latter his most performed
work is probably Circus
Suite which was the
British Youth Band
Championship test piece
in 1980. Northumbrian
Suite and Landscapes have
also been used as
National Brass Band
Championship test pieces.
The Flint Knappers
commissioned as a test
piece for the 1998 East
Anglian Band Festival was
selected as a test piece
for the 1999 Australian
Championships. Before the
days of photography, the
great state occasions
were captured in
paintings and tapestries.
In this Suite, the
composer has imagined the
pomp and splendor of the
English court at work and
play, capturing each mood
in a short movement.
Composed by
Geoffrey Brand. Arranged
by Geoffrey Brand. Band
Music. Score only.
Duration 10:00. Published
by G & M Brand Music
Publishers (CN.S11254).
Full of
intrigue and mystery,
Variations on a Bass
Theme is a treat for the
ears. A plethora of
thematic material emerges
out of tuba section in
the opening bar, creating
the jumping off point for
the whole work. Lloyd
takes the listener down
numerous unexpected
paths, conjuring many
visual images along the
way as if watching a
movie.
Variations
on a Bass Theme was
written in 1986 for brass
band and the original
version was titled
Diversions on a Bass
Theme. The composer
himself wrote: This piece
is a set of variations.
Traditionally variations
were what they said they
were, i.e. a given tune
was treated in a variety
of ways. The pattern of
this work is made the
other way round: a number
of tunes grow out of the
first bar, played by the
tubas, which provide the
motif for the whole work.
Arranger's Note: The
suggestion to arrange the
work for symphonic wind
band came from George
Lloyd: he felt the piece
lent itself to such
transcription and asked
if I would be interested
in undertaking it.
Interestingly, he always
referred to the piece as
his Variations on a Bass
Theme and I have
reflected this in the
title of this concert
band version. In all
other respects the work
is exactly as George
Lloyd wrote it.
Composed by Geoffrey
Brand. Arranged by
Geoffrey Brand. Band
Music. Score only.
Duration 4:30. Published
by G & M Brand Music
Publishers (CN.S11267).
This
arrangement of the entire
March from A Moorside
Suite brings this
refreshing music to
concert bands of all
levels. It should be
played with full
appreciation of its
splendid sense of purpose
and direction, from the
bold fanfare-like
opening, based on a pair
uplifting leaps of the
interval of a fourth, in
which every instrument
takes part, right through
to the exaltant flourish
in the final bars marked
Allegro vivace. Truly, a
March to lift the
spirits!
Gustav
Holst (1874-1934) can
claim a distinction
shared with a relatively
small number of composers
in that his music is more
performed now than it was
during his lifetime. A
Moorside Suite, Holst's
only work for brass band,
is in three movements,
Scherzo; Nocturne; March;
and was written as the
set work for the National
Brass Band Championships
of Great Britain in 1928.
It has become recognized
as one of the truly great
original works for brass
band. This arrangement of
the entire March brings
this refreshing music to
concert bands of all
levels. It should be
played with full
appreciation of its
splendid sense of purpose
and direction, from the
bold fanfare-like
opening, based on a pair
uplifting leaps of the
interval of a fourth, in
which every instrument
takes part, right through
to the exaltant flourish
in the final bars marked
Allegro vivace. Truly, a
March to lift the
spirits!
Composed by Siegfried
Nauman. Band Music. Score
and parts. Duration 4:30.
Published by G & M Brand
Music Publishers
(CN.R10229).
Written in the
Italian style - with a
pinch of Sousa, Marcia a
Montecelio was composed
on pure inspiration in
just two days. This
concert march will excite
your audience and
challenge your
ensemble.
Monticel
lo is the name of a
little place northeast of
Rome where my wife and I
have rented a simple home
for more than 20 years.
We participated
intensively in the
cultural life of the
community where there was
also a little band, the
Banda Municipale
Cornicolana, which
consisted of about 55
wind players, mostly
youngsters. One day, the
Il Direttore came to me
and asked if I would like
to write a march for
them, which I naturally
did. It became the Marcia
a Montecelio. After 14
rehearsals, with everyone
tired, perspiring and red
in the face, we were
forced to give up. The
march was too difficult
for them. I then wrote
another, easier march for
them to perform at the
forthcoming feast of San
Michaeli. The Montecelio
march was composed on
pure inspiration in just
two days. It is written
in the Italian style -
with a pinch of
Sousa.
Composed by Siegfried
Nauman. Band Music. Score
only. Duration 4:30.
Published by G & M Brand
Music Publishers
(CN.S11229).
Written in the
Italian style - with a
pinch of Sousa, Marcia a
Montecelio was composed
on pure inspiration in
just two days. This
concert march will excite
your audience and
challenge your
ensemble.
Monticel
lo is the name of a
little place northeast of
Rome where my wife and I
have rented a simple home
for more than 20 years.
We participated
intensively in the
cultural life of the
community where there was
also a little band, the
Banda Municipale
Cornicolana, which
consisted of about 55
wind players, mostly
youngsters. One day, the
Il Direttore came to me
and asked if I would like
to write a march for
them, which I naturally
did. It became the Marcia
a Montecelio. After 14
rehearsals, with everyone
tired, perspiring and red
in the face, we were
forced to give up. The
march was too difficult
for them. I then wrote
another, easier march for
them to perform at the
forthcoming feast of San
Michaeli. The Montecelio
march was composed on
pure inspiration in just
two days. It is written
in the Italian style -
with a pinch of
Sousa.
Composed by Philip
Sparke. Arranged by
Geoffrey Brand. Band
Music. Score only.
Duration 5:30. Published
by G & M Brand Music
Publishers (CN.S11067).
This overture
is yet more proof of
Philip Sparke's ability
to contribute serious
band literature which
also has definite
audience appeal. A
fanfare opening followed
by the sonorous full band
leads to a lively tuneful
allegro. This is
developed - with the
occasional change of
meter to refresh the ear
- before the fanfare
returns, cleverly
counterpointed against
the music from the
quicker section.
A
fanfare opening followed
by the sonorous full band
leads to a lively tuneful
allegro. This is
developed - with the
occasional change of
meter to refresh the ear
- before the fanfare
returns, cleverly
counterpointed against
the music from the
quicker section. This
overture is yet more
proof of Philip Sparke's
ability to contribute
serious band literature
which also has definite
audience appeal.
Composed by
Johann Sebastian Bach.
Edited by Michael Brand.
Score and parts. Duration
5:10. Published by G & M
Brand Music Publishers
(CN.R10299).
Holst's
masterful military band
orchestration of J.S.
Bach's Organ Fugue in G
Major BWV 577. Michael
Brand's new edition
expands/doubles some of
Holst's original parts to
make the piece playable
by today's modern concert
band.
When Holst
was commissioned to write
'Hammersmith' for the BBC
Wireless Military Band in
1928 he felt rather out
of practice in
orchestrating for the
medium. For some years he
had had the idea of
arranging some Bach
fugues for brass and
military band so he set
himself the task of
scoring the Organ Fugue
in G Major BWV 577 (from
Preludes, Fugues and
Fantasias). He, rather
than Bach, called it
'Fugue a la Gigue.' The
piece made an ideal
exercise and Holst's
brilliant dovetailing of
the counterpoint between
different instruments
shows his mastery. The
piece is technically
demanding and the
characteristic unison
clarinet writing suggests
the orchestral conception
of a large wind ensemble
rather than a band. It
was this conception which
the composer carried
forward into
'Hammersmith.' 'Fugue a
la Gigue' was published
for military band in 1928
by Boosey & Hawkes and
shortly afterwards for
orchestra, but with only
short scores, as was
customary at the time.
This edition has the full
score of Holst's original
orchestration with
optional added parts for
full concert band.
(Featuring: Queen of the Night / I Have Nothing / Iâ??m Your Baby Tonight / The...(+)
(Featuring: Queen of the
Night / I Have Nothing /
Iâ??m Your Baby Tonight
/ The Greatest Love of
All). Concert Band.
Concert Band; Score. Pop
Concert Band. Form:
Medley. Pop. Grade 3. 44
pages. Published by
Alfred Music Publishing
A Tribute to Whitney Houston Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(Featuring: Queen of the Night / I Have Nothing / Iâ??m Your Baby Tonight / The...(+)
(Featuring: Queen of the
Night / I Have Nothing /
Iâ??m Your Baby Tonight
/ The Greatest Love of
All). Concert Band.
Concert Band; Part(s);
Score. Pop Concert Band.
Form: Medley. Pop. Grade
3. 276 pages. Published
by Alfred Music
Concert Band - Grade 1 SKU: AP.32475S Composed by Johnny Mercer. Arranged...(+)
Concert Band - Grade 1
SKU: AP.32475S
Composed by Johnny
Mercer. Arranged by Paul
Cook. Concert Band;
Performance Music
Ensemble; Single Titles.
Pop Beginning Band.
Movie. Score. 8 pages.
Alfred Music #00-32475S.
Published by Alfred Music
(AP.32475S).
UPC:
038081389509.
English.
I'm an Old
Cowhand (from the Rio
Grande) was written for
the motion picture Rhythm
on the Range by veteran
songwriter Johnny Mercer.
The song was sung by Bing
Crosby and became a big
hit. Many other singers
and singing groups have
recorded this song.
Wi' A Hundred Pipers Orchestre d'harmonie [Conducteur] G and M Brand Music Publishers
Musings on a Scottish Jig. Composed by Robert Farnon (1917-). Band Music....(+)
Musings on a Scottish
Jig. Composed by
Robert Farnon (1917-).
Band Music. Score only.
Duration 3:30. Published
by G & M Brand Music
Publishers (CN.S11072).
Composed by
Adam Gorb. Score only.
Duration 4:30. Published
by G & M Brand Music
Publishers (CN.S11296).
This is a short
piece that reflects my
love for the joy and
passion that is found in
Salsa music. Hopefully
when players of this
piece have negotiated the
intricate syncopated
rhythms they will be able
to let their hair down
and party!
Cups (When I'm Gone) Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Hal Leonard
By Anna Kendrick. By A.P. Carter, Heloise Tunstall-Behrens, and Luisa Gerstein. ...(+)
By Anna Kendrick. By A.P.
Carter, Heloise
Tunstall-Behrens, and
Luisa Gerstein. Arranged
by Johnnie Vinson. For
Concert Band (Score and
Parts). Discovery Plus
Concert Band. Grade 2.
Published by Hal Leonard