Swing For Brass

Par DUCKETT RICHARD. La série de ' Equipe ' est utilisable avec les deux individus ou un tuteur de groupe encourager les étudiants à essayer ensemble jouant depuis le début. Tous les livres de la série sont entièrement intégrés permettant aux étudiants à l'aide de ' Equipe Brass ' à jouer dans les ensembles avec les élèves à l'aide de ' Equipe bois ', ' Equipe percussions ', ' Equipe Recorder ' et ' Equipe chaînes '. ' Equipe Brass répertoire ' contient 32 pièces dans un large éventail de styles du Baroque de Jazz et de Swing. Ce livre aura étudiants du niveau débutant au niveau 4 standard et est un excellent supplément à un tuteur. Comme avec le tuteur principal jouant ensemble est la clé ' Equipe Brass répertoire ' et un certain nombre de pièces ont été inclus dans ce volume fourni avec claire des scores de l'ensemble. En outre, appAvailableriate pièces ont des symboles de corde inclus pour permettre aux enseignants de fournir un simple accompagnement au piano./ Répertoire / Brass Ensemble

Swing it William!-This lively work includes a ‘jazzed-up’ version of the Dutch national anthem! Many jazz elements help this arrangement fly by like a whirlwind. Let your band simply swing with this fun piece.

The sparkling music from Soweto (South Africa) has a long history. The rhythmic dances of Kwela the 'syncopated guitars' of Mbaqanga the saxophones and trumpets with their supple African jazz sounds as well as the infectious and sometimes gripping choir singing. All these elements can be recognized when listening to the 'Soweto String Quartet' which in its turn inspired Peter Martin to write 'Soweto Swing'.

Après le vif succès des pièces Pop Tune Variations et Whistling Kettle Koen Pletinckx revient avec un nouvel opus en trois mouvements. L?écriture est fluide et légère. Beat Blues & Swing est taillé sur mesure pour les Orchestres Juniors ou petites formations instrumentales.

Arrangement: Parson Ted. Par PARSON TED. / Niveau : Intermédiaire / Répertoire / Choeur (SATB) et Brass Band

Arrangement: Parson Ted. Par PARSON TED. / Niveau : Difficile / Répertoire / Choeur (SATB) et Brass Band

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

Liberate your brass band with the sounds of 1940’s swing! James L. Hosay has combined the styles of WWII era big-band legends Benny Goodman and Duke Ellington with the unmistakable sounds of Glen Miller to create a swingin’ swayin’ piece you are sure to love. Salute the veterans of WWII with this rip-roaring throwback to the 1940s.

In Theme Park Fun! your orchestra pays a visit to an amusement park. During your visit you will experience some spectacular rides and attractions this theme park offers. The uniqueness of Theme Park Fun! is the interplay between music and(moving) images. Animations and illustrations support the visual composition (downloadable after ordering a set on www.gobelinmusic.com).Part 1: The Entrance & Parade [with animation]The opening of the park is a fact. A day fullof fun and pleasure awaits! You and the other visitors will be confronted with all the rides attractions and adventures the theme park has to offer. Which ride shall we do first?! There is so much to do and experience on this day in the park! Aparade of colorful floats and park figures is passing by.Let the fun begin!Part 2: The Haunted House [with animation]The only ride in the park that is not related to fun is the Haunted House. Here visitors will be challengedto visit a house full of ghosts creepy figures and other ominous things. The clock strikes twelve there is no turning back. Ghosts are whispering yelling screaming... Fortunately it is almost one oclock so we can leave this creepy placequickly.Part 3: The Swinging Galleon [with illustrations]What a huge pirate ship! Each time you swing back and forth you will feel that weird feeling in your stomach. When you are thrown completely into the top you will have afantastic view over the park but you can not enjoy it for long. Before you know the ship swings back the other way.Part 4: The Fairy Tale Ride [with illustrations]After all those exciting and spectacular rides and attractions it is time for a peaceful tour in The Fairy Tale Ride. Surrounded by a fairytale setting you will discover fable figures talking animals and colorful designs. Such a beauty and tranquility. Having had this experience we are ready again for thebig rides in the park!Part 5: The Bumper Cars [with illustrations]Now its time to crawl behind the wheel of the Bumper Cars! Shall we all chase the conductor?! Before you know you are hit by another visitor or you will bumpagainst someone else. In this tough ride you can prove yourself as a real driver or perhaps as a really bad one.Part 6: The Roller Coaster [with illustrations]The largest fastest and scariest ride in the park ... we shoulddefinitely do the Roller Coaster! All together in the train the over-the-shoulder restraints are lowering... be ready to ride. The train leaves the station and is heading for the big lift hill. It will be very scary when the train reaches the topand the train will be plunged down the first drop! Loops corkscrews and other spectacular coaster elements will follow... Before you know it the ride of your life is over. Shall we ride it again?!Part 7: Leaving the Park [withanimation]Unfortunately everything comes to an end.

John Blanken has created a swinging arrangement of the famous Scottish traditional tune Scotland the Brave. The usual version with bagpipes is the best known and there is a similarity in Swingin’ Kilts owing to its long drone-like tones in the accompaniment. The theme has been rhythmically adapted but it is still easily recognisable. Swingin’ Kilts holds a challenge for every brass band. It makes demands in terms of timing and technique which give this work the bravura feel that will keep the audience as well as the musicians swinging in their seats.

Arrangement: Harper. Par PORTER COLE. Les célèbres chansons de Cole Porter ont été conçus avec amour dans cette medley show-stopper pour brass band par Philip Harper. Avec les mélodies qui incluent la charmante Let's Do It (Let's Fall In Love) et le suave commencer la biguine, ce morceau de concert est plein de swing, fanfaronnades et la nostalgie réconfortant de ces favoris à feuilles persistantes./ Répertoire / Brass Band

De nombreux chefs on ajouté une excellente routine à leurs séances de répétition en effectuant un travail préliminaire sur le son. Certains utilisent un choral d?autres choisissent une pièce solennelle du répertoire profane. Après avoir effectué ce travail préliminaire la répétition suit son schéma habituel : l?étude des œuvres au programme.Si vous souhaitez développer la structuration rythmique de votre formation chaque semaine insérer une étude de rythme après la phase de travail du son.Rhythmic Warm-ups (?Échauffement rythmique?) contient une série d?exercices efficaces pour toutes les formations quel que soit le niveau. En combinant les 10 pièces à cinqvoix (A à J) avec les 36 motifs rythmiques vous disposez de 360 exercices de rythme. Pour élargir votre champ d?action il vous suffit d?attribuer un motif rythmique différent à chacune des cinq voix (1-5). Si la ligne de basse (voix 5) joue un rythme unique les exercices se transforment en de petites pièces harmonieuses. Il est également possible de combiner les cinq voix avec des rythmes de votre choix (des rythmes extraits d?œuvres au programme par exemple).En exploitant des motifs rythmiques en croches régulières et des motifs en croches irrégulières (swing) vos musiciens se familiariseront avec toutes les facettes rythmiques de la musique pop. Le fait de disposer d?un même motif rythmique en 4/4 et en 12/8 permet de développer le sens du swing (même chez les musiciens les plus classiques !) en quelques séances seulement. La percussion peut accompagner les motifs rythmiques 1 à 24 avec des rythmes pop ou latino-américains à condition de jouer ces rythmes en croches régulières. Les motifs rythmiques 25 à 36 doivent être soutenus par un « groove » swing. Plusieurs exemples de motifs pour la percussion ont été insérés.Il est conseillé de terminer chaque exercice avec un point d?orgue (une ronde).Je vous souhaite à vous et à vos musiciens une pleine réussite et beaucoup de satisfaction dans l?utilisation des Rhythmic