From the composer: High Flyers are regarded as people with promise and potential.They are winners. This is music for winners.The title as well as being a play-on-words implies the nature of the work. It is a bright optimistic and upbeat piece attempting to depict an exhilarating ride on flying carpet. The opening rising chords immediately suggest the gentle elevation of the carpets' ascent towards unknown heights leading to a hint of a first theme in the horns at Fig. B. The first four notes provide the thematic material for the whole work: C F G A.A perpetual sense of movement is achieved through accented quaver chords punctuating the melodicmaterial of the first main theme. Fig. E sees the music of the opening bars fully realised with flourishes from the euphonium and baritones representing swirling clouds shooting stars or passing birds in flight.The same subject is developed into a lyrical second theme with a new lush harmonic treatment evocative of gliding over an expanse of sparse countryside.This section ends with a note of serenity but is shattered by the urgent insistence of the percussion rhythms.The third section introduces a new idea with a slightly distorted fanfare in the cornets and trombones. This figure suggests for the first time that there may be trouble ahead. In fact there is no need to fear and the journey can continue without aggravation. This fanfare returns near the end to signal a final note of triumph.A new rhythmic variant of the cell motif emerges as the third theme now transformed by the addition of a triplet figure. The music steadily gains momentum before moving inexorably towards the climactic return of the music and tonality of the opening bars of the piece.

In Greek mythology Boreas is the God of the North Wind. When thinking of the north wind we particularly think of the bleak wind coming from the freezing cold north but in Homers' work we see a more varied picture. As shown in the following two stories Boreas often does play the role of a storm wind that blows forth heavy dark clouds while whipping up the dark waves of the tempestuous sea to mountainous heights. When the stake of the fallen Patroclos refuses to burn Achilles begs for some wind. When Iris the swift messenger of the Gods asks the winds for assistance they raise themselves up with tremendous roaring and rush to Troy. Upon theirarrival they blow the divine fire of Patroclos' stake far up into the sky. When Troy was destroyed the Greeks returned home. After many wanderings Odysseus however ends up with the beautiful nymph Calypso who keeps him as a prisoner. As ordered by Zeus Calypso frees him and sends him off on a handmade wooden raft. At sea Odysseus is threatened by the aggressive sea god Poseidon who stirs up the winds and thrashes the waves with his trident. The goddess Athena stems the violence of all the winds except for the north wind and thus it is Boreas who sends Odysseus to the land of the hospitable Phaiakes. Jan Bosveld composed Boreas for OLTO a music association in Loenen The Netherlands for which he had served as conductor for many years. Turbulent movement in both tempo and dynamics characterize this composition. The result is a whirling piece that races by in a positive manner. Boreas is in de Griekse mythologie de god van de noordenwind. Bij noordenwind denken wij vooral aan de gure wind uit het ijskoude noorden bij Homerus echter zien we een meer gevariëerd beeld. Natuurlijk speelt Boreas zoals uit de twee onderstaande verhalen blijkt meestal de rol van de stormwind die de zware zwarte wolken voor zich uit blaast en de donkere golven van de onstuimige zee torenhoog opzwiept.

From the award-winning Broadway show In the Heights here is a stunning opening production number for the field. The mallets and woodwinds start things out quietly with ?Sunrise ? before the full ensemblelaunches into the exciting salsa strains of ?It Won't Be Long Now.? Rhythmically exciting with plenty of creative opportunities for dance or staging.

Based on The Club from the award-winning Broadway musical In the Heights here is a sizzling production/dance number featuring a hot Latin style as well as space to show off the percussion section. A brief lyric middle sectionsets up a final push to the exciting finish.

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

Par OFFENBACH JACQUES. This is the last of nearly 100 operettas created by French composer Jacques Offenbach, a native of Germany whose works were most prominent in the latter half of the nineteenth century. His three-act drama Les Contes d'Hoffmann (The Tales of Hoffmann), which includes a prologue and epilogue, recounts dramatic stories of passion, murder, and revenge. Left incomplete at the composer's death, the operetta debuted in 1881 and remains popular to this day for its many memorable melodies. A masterpiece of French Romanticism, Les Contes d'Hoffmann embodies Offenbach's wish to transcend the limitations of his popular operettas and achieve success among the lofty heights of grand opera. This imaginative score presents an artful blend of fantasy, emotion, and the supernatural as well as elements of satire and the grotesque. Hoffmann, the narrator and protagonist, relates three stories to his drinking companions. The tales concern Olympia, who is revealed as a mechanical doll- Antonia, a gifted vocalist in danger of singing herself to death- and Giulietta, a Venetian courtesan who uses a magic mirror to purloin others' reflections. Reproduced from an authoritative score, this edition offers musicians and music lovers a modestly priced edition of Offenbach's enduring work./ Répertoire / Orchestre

Many of the old hymns have great sometimes stunning messages. Michael Hurley feels that sometimes the “antiquated” melody and/or harmony can get in the way of these important words. He has embarked upon an ongoingproject to create fresh new music for these grand expressions of faith. He has definitely accomplished that with this arrangement! Higher Ground is lively and upbeat with exciting harmonies and catchy syncopation.“Pressing on the upward way” is no problem with this uplifting choral. The melody soars as the mood of the text climbs higher adding a great high soprano descant on the final verse “I want to scale the utmostheight and catch a gleam of glory bright!” A wonderful orchestration or accompaniment CD is available taking this spirited octavo to new heights...to Higher Ground!

from A Time for Alleluia-Here is Joseph Martin's choral tour de force for Palm Sunday and general use. This festive arrangement of the classic hymn is a brilliant tapestry of sound vividly portraying the pageantry of the triumphal entry. Extracted fromthe best-selling cantata A Time for Alleluia this may be the quintessential arrangement of this beloved song of praise. Brant Adams' electrifying orchestration lifts the piece to dizzying heights. Glorious!

The Angels' Song-It's sometimes hard to find just the right piece for that middle ground between the grade 2 young band and the fully functioning grade 3 group. The importance of this growth period in the band's musicality is often overlooked byband composers. James Curnow's On a Renaissance Carol is a great intermediate step with its slightly more exposed orchestration and integral independence of parts. Subtle phrasing dynamics and stylistic considerations helpyou take your group to new heights.

Wuthering Heights - Bitch - Like A Virgin - Girls Just Want To Have Fun. / Niveau : 3.5 / Pièce de concert / Répertoire / Concert Band ou Harmonie

A Celebration of Rhythm and Sound-This extraordinary celebration of rhythm and sound is infused with relentless energy from start to finish. For the band that can play at this level this is an experience you mustn't miss. James L. Hosay has crafted a mostremarkable composition that will take your band to vigorous new heights. (Grade 4)

With more than a nod to the original recording by Steely Dan Mike takes this tune to new heights in his funky and stylized version. Featuring a tenor and trombone duet at the top this chart is also a great feature vehicle forguitar. However the flexible solo section allows you to feature just about any instrument you choose.

Your band will soar to new heights with this impressive composition. Beginning with an extended feature section for battery and mallet percussion along with synthesizer this piece gradually builds to a frenzy of musical drama andpower. Mixed meters and extended brass ranges make this appropriate for mature groups but well worth the effort.