In ‘Famous Folksongs’ we are taken on a musical trip around the world from France to the USA and from South America to the Middle East. Dagmar Kildevann arranged eight word famous folk songs in very different ways. From traditional (Lolo mi boto) to modern (Le coq est mort) and from swing (Sur le pont) to rock (Michael row the boat). Bon voyage have a pleasant journey! Oh and by the way don’t forget your passport!

Par . A sparkling gem for a first concert or a mixed-instrument group lesson, this piece will be fun to play and features an exciting ending. Combining two commonly taught folk songs, 'Lightly Row' and 'Song of the Wind,' this delightful medley, Two German Folk Songs by Bob Phillips, uses only the D string and the A string within the D major scale. Parts lie well on every instrument. The second violin and viola parts are doubled. Bass and cello are often in unison. Throughout the piece, all sections are often in rhythmic unison. This piece provides the perfect setting to reinforce detaché, staccato, and pizzicato. This one will go together well! / Date parution : 2022-12-12/ Répertoire / Orchestre à Cordes

William Llewellyn. Three lively and familiar Northumbrian Sea Songs have been given a fresh lease of life in these sparkling arrangements. ‘The Keel Row’ ‘My Bonny Lad’ and ‘Bobby Shaftoe’ are here available in versions that can be used in many ways in classroom and performances. Parts for chime bars melodic instruments and percussion provide a variety of instrumentation to adorn and expand the basic voices and Piano arrangements.

From a song shared by Squamish First Nation artist and performer Bob Baker comes a unique work shaped by Robert Buckley that will allow your young players to experience the music of one of North America's First Peoples. Eagle Song flows from a beautiful pentatonic melody and grows into a work that is both reverent and exciting. Sophisticated sounding yet easy to learn. Dur: 2:40

Henryk Mikolaj Gorecki's career spans more than 40 years dating from the post-Stalinist era of the mid 1950s and embracing a catalogue of more than 70 acknowledged works. It was not however until the phenomenal success of histhird symphony Symphony of Sorrowful Songs Op 36 which brought the composer world-wide renown through its numerous performances and recordings that his music reached an extended audience outside his native Poland. Since thenthe directness and emotional impact of his music have established him as one of the major figures of contemporary music.

Minor: Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion

Par EILISH BILLIE / O'CONNELL / BROWN MICHAEL (Arr.). Delayed by the pandemic but scheduled for release in 2021, the much-anticipated James Bond film No Time to Die features a darkly beautiful and moody theme song recorded by Billie Eilish. With hints of the signature Bond harmonic flavor and stylish setting, this song is already on its way to becoming a classic, perfectly transcribed for fanfare band by Juri Briat. / Date parution : 2021-12-09/ Répertoire / Fanfare Band

Par BERG ALBAN. Composed by a young Berg, while studying with Schoenberg, these Seven Early Songs would be revisited and reworked ten years later, and then again ten years after that. Perhaps influenced by Mahler, Berg created orchestral settings of these songs, in addition to the voice and piano versions./ Répertoire / Voix Haute et Orchestre

The unique writing style of William Himes is showcased here as he takes the simplest of folk songs and transforms it into a feast for the senses. The basic melody takes on a more insistent guise as melodic fragments graduallygrow morph and unite launching into a relentless rhythm that leads to the breathtaking finale. Directors who know Mr. Himes' work want to add every new concert band piece he publishes to their basic library – you'll wantthis one too.

Par PUTZ MARCO. Arrows of Lightning (“Les flèches de l’éclair”) est une oeuvre en quatre mouvements du compositeur luxembourgeois Marco Pütz. Cette composition puise ses racines dans un recueil de chants et de poèmes améridiens anciens. Le titre de l’oeuvre est la traduction d’un vieux chant indien chanté avant la chasse, et généralement accompagné d’une danse, pour ensorceler les flèches afin qu’elles soient rapides comme l’éclair. Séduit par cette histoire, c'est donc tout naturellement que le compositeur décida de reprendre ce titre pour définir son oeuvre. 1. Rocking the Cradle (“Berceuse”)2. The Mystical Song (“Chant mystique”)3. Circle Dance (“Danse en cercle”)4. Battle Dance (“Danse de combat”)Si les thèmes des différents mouvements émanent pour l’essentiel de danses ou chants amérindiens, ils sont enrichis d’éléments thématiques issus de l’imaginaire du compositeur. Les Indiens d’Amérique, leur grande culture, leur manière de vivre en harmonie avec le milieu naturel ont toujours fasciné Marco Pütz. L’orchestration a été réalisée de manière à être également adaptée à des ensembles à effectif incomplet. Cependant, il est conseillé de couvrir toutes les voix de percussion. / Niveau : 2.5 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Come on Eileen is a song by English group Dexys Midnight Runners which became their second number one hit in the United Kingdom. This fantastic arrangement of a classic pop single will be a popular choice with both your musicians and your audience!

with Optional Vocal Solo-Though originally recorded by David Foster with Natalie Cole the 1992 version by Amy Grant is largely responsible for this song's continued popularity. This inspiring ballad will add a special lift to any holiday concert and Michael's great-sounding arrangement can be performed effectively with or without a vocal soloist.

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.

Par BERNIE BEN / MURTHA PAUL (Arr.). This early jazz standard became the theme song for the famed Harlem Globetrotters, and has remained popular through the years. Paul's clever version for flexible instrumentation passes the melody between upper and lower parts and even includes a stop-time section that features the percussion. / Date parution : 2021-11-03/ Répertoire / 5-Part Flexible Concert Band et Percussion

Vancouver 2010 CTV Olympic Theme Song. Par MOCCIO STEPHAN. / Niveau : 3 / Répertoire / Concert Band ou Harmonie