Quelle est cette odeur agreable. ‘Whence is that Goodly Fragrance Flowing?’ is the first line of an old French Christmas song that originated in the 17th century. In 1728 John Gay used this joyous and markedly festive melody that honours Jesus Christ and His miraculous birth in his Beggar’s Opera. Philip Sparke has given this melody a new lease of life with his charming and imaginative arrangement for the Christmas season. / Niveau : 3 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Arr. Peter Kleine Schaars. For many years Peter Kleine Schaars’ jazz quartet provided sparkle and energy for various festivities and other occasions. If required the ensemble could alternate jazz repertoire with pop and latin music too. Their wide experience taught the musicians that an hour of unbeatable repertoire is the perfect end to every swinging party. Based on this practical knowledge Kleine Schaars has chosen his favourite pop pieces and arranged them in this animated medley entitled That’s the Way (I like Them). / Niveau : 4 / Pop and rock / Recueil / Concert Band ou Harmonie

A Scottish Ghost Story. Par SPARKE PHILIP. Things that go bump in the night (“Toutes ces choses qui bondissent dans le noir”) s’inspire d’une vieille prière enfantine écossaise qui décrit une nuit fantomatique dans un château des Hautes-Terres d’Écosse. La musique est accompagnée d’un petit scénario que l’on peut imprimer dans le programme pour permettre au public de comprendre ce qui se passe. Laissez libre cours à votre imagination. Jouez avec les sons fantomatiques et les effets sonores. Montre-toi fantôme ! / Niveau : 1.5 / Musique légère originale / Répertoire / Concert Band ou Harmonie

Recorded in 1999 and considered the signature hit by the Backstreet Boys, I Want It That Way reached the top of the charts in more than 25 countries! Ishbah's powerful arrangements opens with low brass on the verse, uses effective dynamic contrasts, and steadily gathers momentum throughout.

Le Papillon qui tapait du pied. Par AULIO MAXIME. Rudyard Kipling (1865-1936) est l’un des plus célèbres écrivains de langue anglaise. Né à Bombay en Inde, ce journaliste, poète et romancier reçoit le prix Nobel de littérature en 1907. On lui doit notamment les célèbres ouvrages Le Livre de la Jungle (1894), Histoires comme ça (1902) et Kim (1901), entre autres. Rudyard Kipling a sillonné le monde, glanant de-ci de-là des mots et des merveilles à raconter aux petits et aux grands. Aujourd’hui encore ses Histoires comme ça enchantent par leur drôlerie et leur poésie ; de délicieux récits d’animaux entre l’Inde et l’Afrique initialement écrits pour sa fille, Joséphine, qui mourut en 1899 des suites d’unegrippe. Le Papillon qui tapait du pied est un des douze contes du recueil Histoires comme ça. Maxime Aulio s’en est inspiré pour créer une oeuvre qui s’inscrit dans la tradition de l’impressionnisme musical français. Le saxophone baryton solo incarne le Roi Salomon, fils de David ; les flûtes jouent le couple de papillons ; une clarinette est la Reine Balkis - la Sage Balkis de Saba - tandis que les trompettes et les cornets représentent les Djinns. Les personnages évoluent dans un décor orchestral merveilleux à l’image des jardins et du palais du Roi Salomon. / The Butterfly That Stamped (Le Papillon qui tapait du pied) est une oeuvre de commande pour la Fédération Musicale d’Auvergne (France) avec le soutien du Conseil Régional d’Auvergne, à l’occasion du 10e anniversaire de l’Orchestre Régional d’Harmonie École. L’oeuvre a été donnée en création le 30 avril 2006 au Théâtre Municipal d’Aurillac. L’Orchestre Régional d’Harmonie École d’Auvergne était placé sous la direction de Claude Kesmaecker, avec en soliste, Alexandre Doisy, saxophone baryton. / Niveau : 4 / Pièce de concert / Répertoire / Concert Band ou Harmonie et Baryton Saxophone

Originally a hit song for pop artist Rhianna Tom's arrangement is derived from the version performed by the award winning acapella group “The Treblemakers” in the critically acclaimed music comedy film PitchPerfect. The movie follows all-girl acapella group “The Bellas” in their attempt to beat the reigning national acapella group “The Treblemakers”. You may not have seen the movie but rest assured thatmany of your students have. Armed with this information and this great arrangement by Tom Wallace might be your chance to finally be relevant... Imagine that.

Arr. Philip Sparke. Par TRADITIONAL. This is an ancient Welsh air that was first published in Relics of the Welsh Bards in 1794. Dafydd (David) Owain was a famous Welsh bard who lived on a farm called Gareg Wen (The White Rock) in Eifionydd, Carnarnvonshire, North Wales. Tradition has it that on his deathbed he called for his harp and composed this lovely melody, requesting that it be played at his funeral. Accordingly, it was later played at the parish church of Ynys-Cynhaiarn. Lyrics were later added by Ceiriog Hughes, which describe the melody's inspiration. This version for concert band retains all the beauty and simplicity of the original. This is an ancient Welsh air that was first published in Relics of the Welsh Bards in 1794. Dafydd (David) Owain was a famous Welsh bard who lived on a farm called Gareg Wen (The White Rock) in Eifionydd, Carnarnvonshire, North Wales. Tradition has it that on his deathbed he called for his Harp and composed this lovely melody, requesting that it be played at his funeral. Accordingly, it was later played at the parish church of Ynys-Cynhaiarn. Lyrics were later added by Ceiriog Hughes, which describe the melody's inspiration. This version for Concert Band retains all the beauty and simplicity of the original. / Niveau : 3 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Par VAN DER ROOST JAN. A spectacular dive via an extended chromatic scale immediately submerges us in a charged and somewhat archaic-feeling atmosphere. Trumpets, horns and trombones resound in rhythmic patterns, buttressed by restless motifs in the percussion. A second theme, in the woodwinds, begins much calmer but is quickly pushed aside by that same brass offensive. This introduction is the musical expression of the sometimes tumultuous early history of the town of Peer in Belgium. It closes with a D scale played over two octaves and repeated three times, symbolizing the church steeples that dominate the townscape. Peer has the credentials of a town, and people should know about it. There followsa rhythmic, turbulent passage: in the course of history, Peer has not been spared the ravages of war, arson, occupation, epidemic and other evils. In contrast, a slow, pastoral, lyrical part expresses the periods of peace and prosperity the town has known, as well as the serene geographic setting that still characterizes the place. Various instruments in groups are developed in solo style while the accompaniment displays vast, painterly images of sound. Now and then an exotic intonation is heard: a variety of peoples and cultures have left their mark on the town. This episode of tranquility and peacefulness comes to a sudden end when, via a surprising, almost chaotic transitional passage, we are in effect transported back to our own time. A hopeful, festive march expresses the confidence in the future that the Royal Concert Band of Peer exudes. This confidence is wholly justified: under the direction of conductor Willy Fransen, the 95 members of the concert band have experienced an extended period of good fortune, and the 75 musicians of the youth band - and the 45 little musicians of the mini-band - are involved in thriving operations. / Niveau : 6 / Pièce de concert / Répertoire / Concert Band ou Harmonie

There are people who are capable of planning well. They live their lives in a well-structured manner and know exactly what they have to do. On the other hand there are also people who are the exact opposite: they want to do too many things at once and are often somewhat absent-minded which occasionally results in frantic situations. The outcome of one such situation is ‘They are coming’. John Emerson Blackstone had been working on a new composition for some time when he received a telephone call from his editor who told him that the deadline was approaching rapidly even worse that it would expire at the end of that same day and that he would drop by in person to fetch thecomposition! Blackstone set to work in a frenzy and completed the last details. When his editor arrived the piece was finished ..... and got its definitive title: ‘They are coming’.

Par CURNOW JAMES. An important addition to the ground-breaking Essentials of Musicianship Series from Curnow Music Press! You have probably found that if you rely entirely on your method book and performance pieces for teaching and reinforcement, many aspects of musicianship do not receive the focus that they should have. Method books have notoriously little reinforcement material because they try to cover so much with so little book space. The Essentials Series allows you to select the areas that your band needs work on and provides a great deal of reinforcement for those critical skills. If you are not yet familiar with this series, you have just discovered a tremendousteaching resource! Look at a score for Sight-Reading Builders and notice the comprehensive instructions for most effective use. Teach your band to read style and well as notes and rhythms! A wonderful resource! / Niveau : 3 / Etude / Educatif

Arr. Douglas Court. Par MOZART WOLFGANG AMADEUS. It has been said that the magic of Mozart’s music lies in its ability to truly and purely express the inner self. This delightful Grade 21/2 adaptation of a well-known theme from The Magic Flute will help your young musicians gain a deeper understanding of Mozart and the amazing gift that made him the incomparable master of flawless composition. In addition, your musicians will discover that Mozart is FUN! Douglas Court uses creative variations to skillfully bring this delightful music to your concert band stage with remarkable authenticity. A great one to program for “the Mozart year!” / Niveau : 2.5 / Répertoire / Concert Band

Par BERLIOZ HECTOR. Hector Berlioz (1803-1869) once remarked: “My life is a novel that greatly interests me. ” Experiences in his personal life had a great influence on his compositions. Symphonie Fantastique, written in 1830, is also autobiographical: he subtitled the work Episode in the Life of an Artist. The symphony echoes his feelings for an actress. The Marche au Supplice (march into torture) he described as: “The artist dreams he has killed his beloved, that he has been sentenced to death and is being led to the scaffold. The procession moves to the notes of a march that is now sombre and turbulent, now radiant and stately, and in which boisterous outbursts suddenly dissolve intothe heavy sound of marching feet. ” / Niveau : 4 / Répertoire / Concert Band ou Harmonie