(Lennon & McCartney) (G) Edited by Nicholas Hare. Kaleidoscope will save you time! Do you spend hours arranging music for odd assortments of instruments? Kaleidoscope is specially arranged to suit almost any instrumentalcombination and these varied ensembles are easy and enjoyable too. So much scope for virtually any combination of instruments! The series is successful with recorders guitars percussion and keyboard as well as with orchestralgroupings. Whether there are five or fifty players every Kaleidoscope title will work! Just make sure that melody and keyboard parts are included - all other parts are optional. Kaleidoscope is superb value for money - each setcontains a score plus around 50 parts each one carefully written to suit the needs of each instrument. For example easy string parts are in first position only whilst easy clarinet parts take care to avoid the break. There aremore demanding parts too for experienced players. To help you choose the right pieces for your players we have given the key of each Kaleidoscope in brackets. The complete performance option! These super-flexible arrangements ofwell-known titles are a must for every school. Why not choose a theme for your concert and perform a selection of Kaleidoscope show titles and film themes or have an evening of classical favourites. And don’t forget we haveKaleidoscope bumper carol packs and seasonal gems for your Christmas Concert too!

A Sonata for Violin and Piano by the great Czech composer. This is Dvorák's only Violin Sonata and is a relaxed almost tranquil affair with the two instruments interlaced and complementing each other.

For almost any group of players-The all-time great song Make You Feel My Love is now available in the Kaleidoscope series. This flexible and creative arrangement by Paul Honey can be played by almost any group of players. Each piece inthe Kaleidoscope series can even be played by one melody instrument and keyboard: all other instruments are optional making this a perfect resource for any school.

Imagine yourself in a smoky pub with all the joys that entails. A nice jazzy solo puts you in the mood. This Sugar blues dates from the thirties and is a classic in the jazz scene. A wonderful solo in this case a saxophone but also for other instruments such as clarinet trumpet or trombone (there are different transpositions of the solo part included). Waan u in een rokerig bruin café met alle geneugten van dien. Een heerlijk jazzy gespeelde solo brengt u in de juiste stemming. Deze oerblues stamt uit de dertiger jaren en is een klassieker in de jazzscene. Een heerlijke solo voor in dit geval een saxofoon maar ook geschikt voor andere instrumentenzoals klarinet trompet of trombone (er worden verschillende transposities van de solopartij meegeleverd).

The classic rock ballad Don't Stop Believin' is now available in the popular Kaleidoscope series. This flexible and creative arrangement by Paul Honey can be played by almost any group of players. Each piece inthe Kaleidoscope series can even be played by one melody instrument and keyboard: all other instruments are optional making this a perfect resource for any school.

‘Mixed Bag’ stands midway between a collection and a hotchpotch. It is a colourful compilation of four completely different pieces each with its own specific character. The first part is called ‘Tanguillo’ : as its name suggests this Spanish dance is related to the Tango. In the next part ‘Maybe next time ....’ a repeated bass line (Passacaglia) can be heard first solo but thereafter gradually the other instruments join in. The third part forms a huge contrast – did the former part have a Baroque atmosphere ‘Rock Hard’ seems to have come directly from the Rock ‘n Roll era reminding us of stars such as Bill Haley and Elvis Presley. The finale is acheerful inciting movement called ‘Gypsy Dance’.

Imagine yourself in a smoky pub with all the joys that entails. A nice jazzy solo puts you in the mood. This Sugar blues dates from the thirties and is a classic in the jazz scene. A wonderful solo in this case a saxophone but also for other instruments such as clarinet trumpet or trombone (there are different transpositions of the solo part included). Waan u in een rokerig bruin café met alle geneugten van dien. Een heerlijk jazzy gespeelde solo brengt u in de juiste stemming. Deze oerblues stamt uit de dertiger jaren en is een klassieker in de jazzscene. Een heerlijke solo voor in dit geval een saxofoon maar ook geschikt voor andere instrumentenzoals klarinet trompet of trombone (er worden verschillende transposities van de solopartij meegeleverd).

Winner of the 2014 National Band Association Young Band Composition Contest, 'The Haunted Carousel' was conceived as a piece for band utilizing the sound of a theremin, an electronic instrument often used in old science fiction and horror movies. The part is optional and all critical material is doubled with other instruments of the band. The theremin part is designed to be performed live on an amplified iPad with the GarageBand application. This is one Halloween piece your entire audience will be talking about long after the concert! (4:20) / Concert Band

This easy swing ballad pays homage to the great Neal Hefti and his classic Li’l Darlin’ which was written for the Count Basie orchestra and is now standard repertoire in the big band genre. There is plenty of ensemble work along with a great written tenor sax solo (also with chord symbols). For greater performance flexibility an optional solo sheet is included for other instruments as well. A great vehicle for teaching the most basic elements of jazz in a musical setting! (3:00)

‘Mixed Bag’ stands midway between a collection and a hotchpotch. It is a colourful compilation of four completely different pieces each with its own specific character. The first part is called ‘Tanguillo’ : as its name suggests this Spanish dance is related to the Tango. In the next part ‘Maybe next time ....’ a repeated bass line (Passacaglia) can be heard first solo but thereafter gradually the other instruments join in. The third part forms a huge contrast – did the former part have a Baroque atmosphere ‘Rock Hard’ seems to have come directly from the Rock ‘n Roll era reminding us of stars such as Bill Haley and Elvis Presley. The finale is acheerful inciting movement called ‘Gypsy Dance’.

Par WUORINEN CHARLES. 8,12,16 Trumpets (other instruments may be substituted) - Durée: 5 min / Contemporain / Répertoire / Petit Ensemble Contemporain

how many the other Nr 1. Par FELDMANN WALTER. Die Komposition der ersten Version [Nr. 1 « the one »], die erste Arbeit, die von Anfang an als Teil einer Choreographie von tHEL danse [Gabriel Hernández] bestimmt ist, entsteht aus seinem eigenen '2'. Zwei Instrumente, wovon sich das eine doppelt verpuppt [die Flöte in Altflöte und Piccolo, wobei letzteres direkt aus der vorhergehenden tHELianischen Arbeit stammt]. Zwei Bereiche, Musik und Choreographie, wovon sich der eine ebenfalls verdoppelt [live gespielte Musik und Live-Elektronik]. Gespielte und gleichzeitig gesungene Klänge des Flötisten überlagern Polyphonien der Viola, abzielend auf wenig vorhersehbare Kurven, flatterhaft wie diejenigen des Tristram Shandy, woraus der Titel des Duos [und der Choreographie] stammt, mit ihrem Poten-zial, fortlaufendes zu unterbrechen und zu interpunktieren. Nr. 2 «the other » für 2 Gitarren verdoppelt das Vorhaben der ersten Version, der Satz von Sterne wird ein weiteres Mal beim Wort genommen. Nur sind hier anstelle einer heterogenen Besetzung ['other'] ein homogenes Paar getreten ['one'], als eine Art der Verspiegelung, die genau der Innenstruktur des Stücks entspricht: im englischen Text als Hauptstruktur [Viola/ Gitarre 1] ist der deutsche Text in zwei Spiegelvarianten enthalten, wie auch im deutschen Text als Hauptstruktur [Flöte/Gitarre 2] der englische. Laurence Sterne dürfte sich kaum beklagen, dass er nicht beim Wort - oder besser: beim Buchstaben genommen wird./ Répertoire / Alto, Flûte Traversière (Aussi Flûte Alto et Picco

This work was written with a mix between computer technology and the more traditional orchestra the piece was composed in such a way that it would support it's own acoustics. Lindberg worked with amplification of instruments and electronically transformed sounds thus producing greater possibilities to abandon acoustic limits. In order for the piece to be supported by it's own acoustics the piece had to be written in terms of foreground and background harmony every foreground chord would always have it's background a shadow existing without it's main chord.Another theme to the piece is that of textural motion as rapid gestures and motions are a big part ofthe composer's interest. Static repitions seemed to limit the piece however so they were compensated for on another level so with a repetitive rhythmic pattern the harmonic material changes rapidly or when a chain of chords is static the rhythmic and timbral qualities vary frequently. Work for Orchestra commissioned by the Finnish Broadcasting Company.