In this composition William Vean takes you on a journey through the fascinating and exciting world of animals. Apart from it being a composition filled with 'special effects' Animal Kingdom contains many educational elements such as playing inswing (triplets feeling) chromatics flutter tonguing gypsy tuning varying keys and of course dynamics and articulation. The melodic lines occur in all four voices as well as in all percussion parts providing each musician with theopportunity to play a solo or to accompany. Highly recommended for your youth band! William Vean is an educational composer. He knows how to musically shape the special elements from our daily lives. His music is therefore veryexpressive containing creative solutions to possible problems. Special ways of playing make his music particularly interesting for the winds but the percussion section is also featured in his special effects. The world of the animalsalways plays on ones imagination. In Animal Kingdom William Vean has portrayed a number of animals in a special manner: Kevin Kangaroo - The jumping character of this animal can be heard in different voices. The swing style alsoemphasizes the characteristic movements of the kangaroo. Playing in swing style can be practised by using scales. Eddy Elephant - For some of his smaller fellow fauna friends this can be quite an ordeal but for Eduard (Eddy for friendsand intimates) it is his daily walk. Baldrick Bat - Baldrick the Bat is a mysterious character. This can be heard in the fast moving valves and keys accompanied by special effects in the percussion section. Curtis Camel - Curtisthe Camel trudges across the desert feeling bored. The idea that the horizon will never change does not affect him anymore. He has accepted his fate. The distinctive tones from the gypsy scale provide the suitable oriental sounds. BettyButterfly - Butterfly Betty elegantly and without worries flutters from flower to flower in the garden. Her motto: Carpe Diem (Seize the Day). Betty is a one-day butterfly. Marvin Monkey - A 'swing' monkey stirs up the feelings. Evenmembers of the orchestra will look like real monkeys. How about your audience? Each part has its own difficulties and challenges. Important in the first part is playing 'in swing' (triplets feeling). This can be practised usingscales. In the second part ensemble playing and balance are important. In Baldrick additional information on the effects that have to be played might be useful. 'New' sounds are of course welcome. Curtis the Camel introduces thegypsy scale. Additional explanation of the use of the scale might be useful. Key changes are interesting in this part. A slight accent on the first beat of the bar will add to the charm of this part. Marvin the Monkey brings back the swingrhythm that was introduced in the first part altern

Walden for wind quintet was written in 1978 and commissioned by the Funen Wind Quintet. The title is taken from the American philosopher and poet Henry David Thoreau?s novel from 1854 about living in the woods which Thoreau did for two years.His stay there was an experiment an attempt to strip away all the artificial needs imposed by society and rediscover man?s lost unity with nature. In that particular sense his novel is a documentation of social inadequacy and a work of poetry (Utopia) as well.All thought Thoreau himself never completed any actual social analysis he was way ahead of his own time in his perception of the economy and cyclic character of Nature todayknown as ecology. His ideas are particularly relevant now that pollution caused by society has reached alarming proportions.Walden was written in a style of re-cycling and ?new simplicity?. A lot of superfluous material has been peeled away in order to give space to different qualities such as identity and clarity. Various layers are encountered in the quintet such as the organic (growth flowering Decay) concretism (mechanical patterns) and finally the descriptive (distant horn calls and other ghost-like music of the past enter our consciousness like a dream). Walden consist of four movements.In 1995 another version for reed quintet was written to the Calefax Reed Quintet.?

Bob Chilcott's We Are for SATB. We are is a dynamic and vibrant setting of 'The human family' a powerful poem by American poet Maya Angelou. The poet's message that 'we are more alike than we are unalike' is carried through the piece by a compelling rhythmic figure and the a cappella textures and interplay between voices creates an infectious energy. The rich texture of the double choir scoring allows the two groups of singers to work together to create the sense of unity and common purpose the poem speaks to. We are was commissioned by The King's Singers for their 50th anniversary celebrations and features ontheir album 'GOLD' (Signum SIGCD500). The piece was originally presented with the first choir scoring as AATBarBarB but has since been rescored for SATTBB with the option for the second choir to be SA or SATB remaining unchanged.

The Cello Concerto is in four main sections that are played without a break. As with most of my work the music throughout is generated from the ideas presented in the fi rst few bars and these ideas and their variants appearfreely in the different sections. Recurring material and references to earlier sections are used deliberately to create not only a sense of unity but also an impression of familiarity that aspires to induce a dream-like perceptionof the passing music a kind of spiral. The piece opens with a slow introduction that gradually quickens into the first main section an allegro. The form of the second section which is in a lighter mood is based on anearly 13th century verse form the Sestina which consists of six stanzas of six lines each followed by an envoi. The words that end each line in the first stanza are rotated in a strictly prescribed pattern* to give theline-endings of the remaining stanzas; in this adaptation each “line” consists of four bars and the repetitions ensue according to the plan. The intricate repetition inherent in this form can also be seen as a formof spiral. The third section is an extended slow movement interrupted by a quicker episode that refers to the fi rst section. Generally lighter and in a similar vein to the second section the final section includes a reference tothe slow movement before returning to the lighter music that ends the piece. This work is dedicated to Natalie Clein.

A Cantata for Christmas-The Song Heard 'Round the World is a journey of international carols and folk songs that incorporate narration and scripture to share Christmas story. With sections for Advent Christmas and Epiphany the anticipation incarnation and proclamation of Christ's birth is presented. Each movement is from a different nation filling the work with a tapestry of musical diversity. The overall theme of unity and peace on earth is timely giving many options for creative presentations. Colorful orchestrations by Brant Adams capture the diversity that is so much a part of this meaningful work. A smaller chamber orchestration is also available as well as a full line of support products.Songs include: A Joyful Journey of Carols - Hear the Song Heard 'Round the World - An Advent Prayer - Prepare the Way of the King - Ges¨ Bambino - Rejoice! Christ Is Born! - A Unity Carol - Music of the Morning Star - Prayer for Peace. Score and Parts for Full Orchestra (fl 1-2/pic ob cl 1-2 bn hn 1-2 tpt 1-3 tbn 1-2 tba timp perc 1-4 hp kybd vn 1-2 va vc db) and Consort (fl cl tpt 1-2 tbn bls perc kybd) available as a Printed Edition and as a digital download.

A Cantata for Christmas-The Song Heard 'Round the World is a journey of international carols and folk songs that incorporate narration and scripture to share Christmas story. With sections for Advent Christmas and Epiphany the anticipation incarnation and proclamation of Christ's birth is presented. Each movement is from a different nation filling the work with a tapestry of musical diversity. The overall theme of unity and peace on earth is timely giving many options for creative presentations. Colorful orchestrations by Brant Adams capture the diversity that is so much a part of this meaningful work. A smaller chamber orchestration is also available as well as a full line of support products.Songs include: A Joyful Journey of Carols Hear the Song Heard 'Round the World An Advent Prayer Prepare the Way of the King Ges¨ Bambino Rejoice! Christ Is Born! A Unity Carol Music of the Morning Star Prayer for Peace. Score and Parts for Full Orchestra (fl 1-2/pic ob cl 1-2 bn hn 1-2 tpt 1-3 tbn 1-2 tba timp perc 1-4 hp kybd vn 1-2 va vc db) and Consort (fl cl tpt 1-2 tbn bls perc kybd) available as a Printed Edition and as a digital download.

Leonard Bernstein's music will forever be a highlight of American theatre history and his compositional style continues to influence contemporary song writing. This inspirational finale from Candide gives you a wonderfulopportunity to expose your players to one of the most enduring stage works of our time.

The composer Patrick Burgan and the giant of French music Henri Dutilleux formed real elective affinities with each other. Dutilleux never missed an oppor­tunity to mention the high esteem in which he held the younger musician's work. Dedicated to the memory of Henri Dutilleux, Songe À La Douceur takes its title from the 2nd verse of 'L'Invitation au Voyage', from the 'Fleurs du mal' by Baudelaire - a poet who was a constant source of inspiration for Dutilleux. Burgan invites listeners to explore the musical universe of the French master: the numerous quotations of his work, duly flagged in the score, form a superb constellation that stretches from the Mystère de l'Instant to the Deuxième Symphonie via the quartet Ainsi la nuit, Métaboles and the concerto for cello Tout un monde lointain. Reflecting L'Invitation au Voyage, the composer follows the principle of verse and refrain, and the hypnotic return of the soft chords in pizzicato echoes the famous lines: 'Là, tout n'est qu'ordre et beauté, / Luxe, calme et volupté?. This tribute, in the form of a delicate alchemy, combines sparkle, sweetness and spirit. / Violoncelle

Full Score-SATB unaccompanied unless otherwise noted. Contents: As I Was a Young Girl • The Black Sea • Cuckoo • Dark Nights Lowering Clouds • Glory to Our Soviet Motherland • Great Day Has Come • I ToldMy Dear Friend • In My Father's Garden • Loyalty (TTBB) • March of Peace Champions • Novorossiisk Chimes (TTBB/Piano) • O Fir Grove • The October Dawn • Our Motherland Hears (with Soloist) •Our Song (Bass solo/Chorus/Piano) • Out of the Thicket of Spears • The People's Lament (King Lear) • Song from Volochayevka Days • Song from Zoya • Song of Guards Division • Splinter • ThereBeyond the Mountains • 3 Songs from Meeting on the Elbe • Thunder Suddenly Crashed • A Toast to Our Motherland • 2 Songs from Unity • Vocalise from Friends • We Cherish October Dawns in Our Hearts• We Sing Glory to Our Country • What Songs • Winds Were Blowing • 10 Poems • 2 Songs from the Counterplan • 2 Songs from the Fall of Berlin • 2 Songs from the First Echelon • 4 Chorusesfrom Belinsky. From The Collected Works of Dmitri Shostakovich published by Mezhdunarodnaya Kniga Moscow Russia. Hard-cover bound and includes editorial notes (Russian/English) and background information.

Uses: Church Heritage Commitment Reformation Scripture: Psalm 18:2-3 Revelation 19:7-9 This is an epic anthem whose content challenges the church to find her unity and calling. The chorus brings the theme into focus We are the Church we are the Bride we are the lost who've been fully justified. There is a strong crescendo of purpose as this piece develops and the final chorus sings like a sacred concerto with piano and choir proclaiming confidence in Christ. Some vocal divisi allows larger groups to fully engage while the thoughtful part-writing and ranges encourage smaller ensembles. Score and Parts (fl 1-2 ob cl 1-2 bn hn 1-2 tpt 1-3 tbn 1-2 tbn 3/tba perc pno hp vn 1-2 va vc db) available as a digital download.

Together We Sing Series-Two popular Jewish folk songs are joined in this creative medley. The poignant text speaks of dwelling together in unity and harmony. A cello part is provided for the TTB voicing while a violin part has been included for the3-part mixed and 2-part settings. Available: 3-Part Mixed; 2-Part; TTB; PianoTrax CD.

(from Selma) Eugene Rogers Choral Series-Winner of a 2015 Oscar Award this inspirational song speaks of hope and looks to the future for healing in the midst of great division. Eugene's gospel-like setting offers comfort to the community and motivates individuals to keep working for a better tomorrow. Through the voice of a powerful soloist male chorus and spoken word artists the message of unity and hope is left ringing in our ears.

Songs Of Sanctuary is an extended choral-type work based on the European classical tradition but where the vocal sound is more akin to 'ethnic' or 'world' music. The idea was to have some thematic unity within the work as a whole rather than a collection of disparate pieces in song form. This vocal score which includes the optional recorder part in the score is primarily intended for rehearsal use. However it is possible to make a convincing performance with voices and piano.

With words by Cuba's most celebrated poet Nicolás Guillén translated into English by the poet La Muralla speaks of building a gate of hands around the world joined in unity. Written for the Edinburg North High School Choir in Texas Paul Basler's work is accessible for school and community choirs. In Spanish with easy phonetic line inset in the score. Moderately difficult. Available: SATB.

Two popular Jewish folk songs are joined together in this creative medley. The poignant text speaks of dwelling together in unity and harmony. A cello part is provided for the TTB voicing while a violin part has been included forthe 3-part mixed and 2-part settings. Available: 3-Part Mixed; 2-Part; TTB; PianoTrax CD.