Par TOMS GRAYDON A.. This lighthearted piece is ideal for the Grade 1 band. Repeated notes in a sequential melody, simple counterpoint between the Woodwinds and Trumpets, interesting use of common Auxiliary Percussion instruments, a limited palette of rhythms and easy Low Brass/ Low Woodwind parts all combine so that you can program HAPPY SUMMER SONG with confidence. Whether you have a full complement of players or your instrumentation is a little 'sketchy'; whether you have plenty of rehearsal time or that precious commodity is a bit rare, you can count on having this one ready in time for the show. / Niveau : 1 / Répertoire / Concert Band ou Harmonie

from Munich. Par WILLIAMS JOHN. by John Williams. Arranger by John Moss The powerful Spielberg movie Munich brought us another stunning soundtrack from the masterful pen of John Williams. His moving setting of Israel's national song is a focal point of the film. John Moss has created this marvelously scored version for bat is both effective and easy to prepare. / TV, Film, Comédie musicale / Recueil / Harmonie

Par TORSKANGERPOLL IDAR. This piece for beginning band was written as a commission for Norsk Noteservice to the “Music for Beginners” serie. The piece is a feelgood item with limited range for all instruments, suitable for young players. The rhythmic structure is repetitive and polyphony is often in the “call and response” form. Hence it is an easy piece to read and play. The refrain is rhythmically unison making it easy for all to play syncopated rhythms. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie

For Wind Band and Pre-Recorded Soundscape L4. Par SHAPIRO ALEX. Ascent reflects the effort to get off the ground, literally or figuratively. It's a micro-overture that begins with the promise of upward transcendence, yet soon flies off into rogue disorganization. A raucous flock of notes finally converges into a united upward-headed murmuration, but the freedom of soaring through the sky brings an uneasy mystery before settling into the tranquil air of anticipation./ Répertoire / Concert Band

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

Par VAN DER ROOST JAN. This hymn was commissioned by “Antwerpen 93”. And this city, on the banks of the river Schelde has been nominated “Cultural Capital of Europe” for 1993. The work-group “animatie” took the initiative and commissioned a hymn, which -as the finale to a grand open-air event on 27th March- was premièred by hundreds of musicians from all over Europe. Philippe Langlet (France) was the conductor at this majestic occasion. Musically speaking the piece can no doubt be labeled easy. Indeed it is meant to represent a hymn, playable by all in different instrumental combinations. Consequently a variable instrumentation was chosen and a type of music, which by native is easily accessible anduncomplicated. The conductor is free -in the instrumentation- to score this piece according to his own taste. It is perhaps advisable to use the sharp brass in the forte parts, in order to make the range in the sound of the orchestra as colouful as possible. The percussion parts are not absolutely essential, so that the hymn can also be performed without percussion. / Niveau : 2 / Musique pour célébration / Répertoire / Fanfare

Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie

Par CURNOW JAMES. The final bars of CENTURIONS take Grade 1 music to new heights of excitement! Artful composition for the first year band with limited ranges and rhythms makes this one you’ll use again and again. Some easy use of 16th notes (for the Snare Drum only) helps to generate that extra bit of energy that lifts this one over the top while keeping the Percussion parts interesting for the players. Flute fingerings are kept easily manageable throughout and Brass ranges are carefully controlled. Appropriate for any program, CENTURIONS will inspire your young musicians to a bold and dramatic performance. Excellent for cross-curriculum teaching with history / Niveau : 1 / Marche / Répertoire / Concert Band

Arrangement: Murtha P.. Par QUEEN. The group Queen practically invented the ?rock anthem? with their driving rhythms and catchy riffs. Here is an easy but hard-hitting medley of three of their trademark hits/ Recueil / Orchestre D'Harmonie

Par WEBB AMY. Operation Invictus is a rising band work that checks all the boxes: exciting parts for all players, commanding rhythms, and challenging, yet surmountable melodies that will leave your band feeling great about themselves and their performance. Each instrument gets to play snappy little licks that are so engaging they'll want to practice. Even the low brass gets some fanfare-like material that will sound powerful. The very word invictus is Latin for 'undefeated.' A tremendous piece at the easy level that can be played either at the beginning or end of your next concert or festival. (3:07) This title is available in SmartMusic. / Date parution : 2022-10-12/ Répertoire / Concert Band