Soft Winds

A Theater Overture for winds-From the renowned composer Alfred Reed comes this unique musical panorama. An original work it explores the theater overture style as one of the important musical styles to emerge in the 20th century. Written for the Wheaton Illinois Municipal Band's 60th anniversary this single movement work includes six sections: Opening Fanfare Bright Two-Step Romantic Ballad Soft Shoe Novelty Latin Production Number and Jazz/Rock Finale.

Taking its title from Herb Ellis’ most famous composition Detour Ahead chronicles the life and music of the famed jazz guitarist. From his birth in Farmersville Texas and his early days playing rhythm in the big bands of Jimmy Dorsey and Glen Gray to his innovative work with groups like the Soft Winds Detour Ahead covers every major step of the guitarist’s life. Much attention is given to his groundbreaking work with the Oscar Peterson Trio of the 1950s his days with Ella Fitzgerald his work with the Great Guitars and his many friends in jazz. On-camera interviews include Ray Brown Charlie Byrd Benny Golson Benny Green Al Grey Lionel Hampton Gene Harris Jon Hendricks and Hank Jones. Along with modern interviews Detour Ahead features never-before-seen home movies from jazz’s golden age of Herb on tour with Dizzy Gillespie Ella Fitzgerald and others. Complete musical tunes from various live and studio venues include The Days of Wine and Roses Sweet Georgia Brown Body and Soul Georgia On My Mind Danny Boy John Brown’s Body and Wave. Sidemen include guitarists Charlie Byrd Tal Farlow Terry Holmes; bassmen Norm Cochran and Jack Hannah drummers Tommy Perkins and Ernie Durawa and pianist Sonny Gray.

Par PEPIN CAMILLE. Lorsque l'on m'a proposé de mettre en musique ce recueil de poèmes de James Joyce (1882-1941), j'ai été immédiatement séduite par l'idée. Il s'agissait de mettre en musique ces poèmes en respectant l'ordre original selon lequel ils ont été conçus par James Joyce lui-même lors de la première édition de 1905 [1]. Avec la précieuse aide de Philippe Blanchon [2], j'ai choisi de mettre en musique dix-huit poèmes, conservant ainsi les épisodes incontournables, la trame dramaturgique et l'essence de l'univers Joycien. Ce qui m'a attirée d'emblée, c'est qu'il s'agit d'une véritable histoire : de la naissance de l'amour à la passion déclinante, menant à une éventuelle et tendre amitié entre les deux amants. J'ai donc conçu Chamber Music d'un seul tenant. Au-delà des nombreuses références à la musique et aux sons de la nature - déjà 'musique' en eux-mêmes - l'oeuvre littéraire appelle à la mise en musique par sa forme. En effet, elle est déjà musicale dans sa construction. Les trois premiers poèmes constituent le prélude exprimant la solitude du poète. Nous assistons dans la première partie - crescendo - à la naissance de l'amour entre les deux amants, menant au poème central et point culminant de l'oeuvre : 'My Dove, my beautiful one'. La seconde partie - diminuendo - raconte la passion déclinante des amants qui nous conduit au finale, écho du premier poème et à la solitude du poète. Le prélude musical illustre le paysage - tant visuel que sonore - décrit par James Joyce : 'Strings in the earth and air make music sweet', 'There's music along the river', 'The sighs of harps', 'Soft sweet music in the air'. Inspirées de sonorités traditionnelles irlandaises, les mélodies de la première partie présentent un aspect populaire issu du folklore, comme une ode au monde de la danse - prégnant en Irlande. Ces mélodies modales et mélismatiques semblent improvisées, à la manière du chant gaélique irlandais. Elles se transforment au fur et à mesure en une véritable épopée romantique, expression de la relation passionnelle et charnelle des deux amants : 'Hurry over the dark lands and run upon the sea for seas and land shall not divide us my love and me', 'The odorous winds are weaving a music of sighs'. Ces mélodies extatiques, à la fois tendres et fragiles, tentent d'exprimer cette ivresse, cet état extatique - véritable état de 'transe' qui nous submerge lorsque l'amour envahit notre âme sans que l'on s'en aperçoive. La deuxième partie reprend ces divers éléments musicaux dans leur cheminement inverse. Passés par le filtre de la mélancolie de l'amour déclinant au fil du temps, ils témoignent de la perte de repères après la séparation avec l'être aimé : 'Lay aside sadness and sing how love that passes is enough', 'Love came to us in time gone by'. Enfin, le finale exprime le retour à la solitude du poète, comme une résonance du début de l'oeuvre : 'The voice of the winter is heard at the door', 'My kiss will give peace now and quiet to your heart'. Sans cesse en écho les unes des autres, les mélodies s'entremêlent dans un contrepoint lyrique et sensuel. En effet, le titre même du recueil m'a inspiré une oeuvre où chaque instrument serait d'égale importance. Le lyrisme de l'un ne peut exister sans l'autre. Ainsi, le rôle du quintette n'est pas seulement un accompagnement de la voix soliste. Leurs lignes d'amour se mêlent avec volupté les unes aux autres. Plonger dans l'univers Joycien a impliqué mon immersion totale dans l'oeuvre. Lire ses mots, penser ses images, imaginer ses sonorités, a été un travail passionnant et c'est avec nostalgie que je referme ce recueil aujourd'hui. J'espère cependant avoir su retranscrire son univers poétique au plus proche. Je profite de cette note pour remercier Philippe Blanchon pour son aide précieuse et Claire Bodin [3] pour sa confiance. C'est à la fois un grand honneur et un plaisir immense de rendre hommage à si grand artiste et de voir ce chef d'oeuvre littéraire naître une seconde fois en musique. / Contemporain / Répertoire / Sextuor

Creating a musical representation of earth's grand vistas and landscapes Crosslands opens with a delicate simple theme that is pastoral and reflective. Building to a bold heroic theme stated by Trumpets andHorns the piece then concludes as the music subsides quietly representing the soft rays of a picturesque ocean sunset. Another beautifully descriptive work for winds from the pen of Rossano Galante. Dur: 4:10.

From John La Barbera's acclaimed CD “On The Wild Side ” here is a masterful arrangement of the Miles Davis modal standard. Opening with a chorale the chart then slips into a classy jazz waltz treatment of the themeincluding a solo section featuring trumpet and tenor. The climactic ensemble chorus starts soft then builds to a furious level then the chart winds down to a quiet closing with the saxes. A genuine treat for the ears.

Les Marteaux de La Marine was composed in 1999 as a commission by the Marine Band of the Royal Netherlands Navy. The composition contains three static elements which interchange. Static in this case means that development of the material isnot pursued (by the composer). The first element with which the piece begins is tranquil and colourful. The second element is sharp and incisive while the third expresses energy. In all elements a repeated tone is the starting point whichexplains the hammers in the works title.The instrumentation is richly variegated with a harp also determining the palette of colours in the slower movements. The composition opens with an atmospheric Larghetto containing fine harmonies in thesoft and subtly moving wood-winds. The introduction breathes an impressionistic atmosphere in which expressive cantilenas and soloistic agile motifs stand out. A strong setting is followed by an Allegro virtuoso containing fast motifs contrasted withshort and rhythmic stars of the various instrumental sections. Trumpets and horns add a virtuoso bugle-call motif. After a short stringendosection the transparent Larghetto returns with a varied setting of the opening elements. The beautifulleading roles in this section are reserved for cornet (trumpet) and horn. Subsequently the flashing Vivo starts with continuous movements in triplets from both wood-winds and brass. Next the opening Allegro re-appears once again and thus LesMarteaux de la Marine ends with a fast and virtuoso climax. Les Marteaux de La Marine was selected as a compulsory grade 6 contest piece for symphonic bands in the Netherlands.

Soliloquy for a Passing Century - Score-'All music be it 'abstract' or 'descriptive ' or 'popular' or 'serious ' must speak for itself. Words about it are irrelevant unless they be lyrics or narration. That being said I will attempt a few words about my piece because I was asked to do so and the very special nature of the event in which this first performance takes place. Therefore I offer a guide to the musical gestures and terrain that make up the work and hopefully helpcommunicate my music to the listener.'Remembrance Day' opens softly with a prologue evoking a distant nostalgic Lullaby. As it fades a sudden loud chime combines with high Clarinets in an anguishedsequence that cries out a musical pattern establishing and shaping the body of the work. The music alternates between elegiac thematic references and the pulsations and accents of chimes and tolling bells. A slight pause-thensubdued but menacing sounds from muted Trombones Tuba and Percussion. Over this is a variant of the Clarinets initial 'cry of anguish'- but this time in quiet grief-turning into a funeral cortege. The cortege proceeds to chantsand responses that grow in intensity changing to hymn-like swelling and embellishments. A sudden explosive interruption brutal and violent-the previous menacing muted trombone motif now unleashed. This leads to a full-blown andaffirmative chorale. Following this climax the work winds down diminishing in intensity. There are passing references to what was heard before. Now comes a last variation on the chant and a pianissimo echo variant in mutedTrumpets and then Woodwinds of the hymns and chorales. As this recedes comes the plaintive cry of anguish again-unresolved. Once again quiet pulsations a short silence-and the epilogue-a few fragments of the opening lullaby-somefinal pulsings-a few timpani beats-silence.I am honored to have been asked to write this work and I thank the Raymond and Beverly Sackler Foundation for making this possible. I also hope that our children's

This jazz classic adapts perfectly for young players. The tempo is moderate and the swing figures are easy to play. The blues form makes it easy for inexperienced improvisers and sample solos are included for alto tenor trumpet and piano.

Edited by Geoffrey Bush and Michael Hurd Nine glees and madrigals for three and four parts by Atterbury, Baildon, Beale, Hindle, Horsley, Paxton, Pring, Stevens and Webbe. CONTENTS PAXTON, William Breathe soft, ye winds (TBarB) BAILDON, Joseph When gay Bacchus (ATB) STEVENS, R J S Prithee, foolish boy (ATB) PRING, Jacob Cubitt How bright were the blushes of morn (ATB) ATTERBURY, Luffman Adieu ye streams (ATBarB) WEBBE, Samuel Oh gentle Love (ATBarB) HINDLE, John Queen of the silver bow (ATBarB) HORSLEY, William Nymphs of the forest (ATBarB) BEALE, William Come let us join the roundelay (ATBarB)

Third edition of the world's biggest songbook. This is a vast bumper collection, perfect for buskers, of 1001 all-time hit songs.Whatever your taste, there's guaranteed to be tonnes of songs you'll want to play, this book will last you years!Inside the spiral bound cover you will find a generous selection of hit songs, golden standards, jazz and blues numbers, classical pieces, hymns, gospel songs, stage, film and musical music! Arranged here in Melody line arrangements for Piano, Organ, Electronic Keyboards, Guitar and all C instruments, complete with lyrics and chord symbols. / Ligne Mélodique, Paroles Et Accords (Avec Grilles D'Accords)