Henry Manicini 's Moon River arranged by Clay Warnick for SSAA choir.

It is a tradition that a concert must include a real classic march. Traditions are made to be kept. This is also true of our German neighbours. Reiner Lüghausen obtained his inspiration from the German march literature.

Having won many prizes at the Paris Conservatoire during the 1920s-1930s Eugène Bozza went on to conduct the orchestra of the Opéra-Comique and to become Head of the Conservatoire in Valenciennes. As a major figure on the classical music frontline Bozza 's compositions were well-received by audiences Soir Dans Les Montagnes for Flute and Piano being no exception. This Bozza piece for Flute is characteristically French with lyrical and graceful melodies displays of the beautiful lower register of the Flute and fast flourishing semiquaver passages accompanied by spread chords andstaccato in the Piano. As music educationalist Paul Griffiths has written of Bozza 's compositions 'his works reveal melodic fluency elegance of structure and a consistenly sensitive concern of instrumental capabilities.'

Duke Ellington (1889- 1974) was a very successful American pianist conductor composer and arranger. His orchestra existed for decades and was able to survive thanks to the enormous hits that he and his collaborators wrote. Many of those songs now belong to the standard repertoire of jazz musicians.Billy Strayhorn (1915-1967) was arranger and composer with the orchestra from 1939 and also wrote Take the A-Train which became the band’s favourite song from 1941. Many recordings were made of it. Juan Tizol (1900-1984 valve trombone) played with Duke Ellington almost his entire career and composed Latin songs for the orchestra. He is co-composer of Caravan and Perdido.Just likein the original Duke Ellington concerts the medley begins with Take the A-Train followed by a number of classics from the repertoire of the legendary orchestra. In some songs there are soloists notable a solo on kettledrums in C- Jam Blues. This solo can also be improvised.When rehearsing a lot of attention has to be paid to the drum and bass which together form the rhythm section and drive the orchestra on. The other sections have to be tight and create a coherent swing effect. The swing shouldn’t be too stiff and can vary per song. For example in In a Sentimental Mood the melody can be played almost straight (classically) while the rhythm section continues swinging.

This innovative collection contains nearly 20 pieces in a variety of styles. Suitable for many different occasions they are equally appropriate for recietals or church services and have accompaniments for Piano or Organ. many of the songs are made widely available for the first time in this volume. For Medium Low Voice and Piano Accompaniment.

Juri Briat has made a daring arrangement of this spectacular film score. Through his skilful instrumentation the sound of this work closely resembles that of the original version for a symphony orchestra. In this arrangement Juri Briat has combined dazzling brass passages with virtuoso woodwinds and saxophones. A challenge for any band with ambition.

John Rutter's Angel Tidings for SATB. Taken from Carols for Choirs Book 3 No.25.

This scintillating arrangement by the American Mark Freeh of the Jerome Kern and Oscar Hammerstein classic Showboat is a classic in the brass band repertoire. This ‘up tempo’ big band arrangement is a perfect opener or closer to any programme and is also a fantastic way to showcase your drummer. Definitely one not to be missed!

Reiner Lüghausen composed this march in the early Seventies and it has never before been published. He gave the work this title because he actually comes from the valley of the same name in Germany. The most important sources of inspiration were the typical American military marches the undertones of which you will certainly recognise.

Georg Philipp Telemann (1681 - 1767). Little Suite In D for 5-part String Orchestra. Score and parts available for sale.

Cantata for the 1st Easter Day- Cor Anglais ad lib - not in wind set Der Himmel Lacht! Die Erde Jubilieret BWV 31 (The Heavens laugh the earth exults in gladness) BWV 31 Cantata for the 1st Easter Day - Performance material (BA10031) vocal score (BA10031-90) and study score (TP1031) available for sale The text by Salomon Franck who was the librettist of some of Bach's the best-known cantatas is closely linked to the account of Easter and recalls the jubilation at the resurrection of Jesus. Bärenreiter's editions of Bach Cantatas offer the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. No group of works in Johann Sebastian Bach ’s output is as wide-ranging as the cantatas. This is hardly surprising considering that for over five years Bach was required to compose a work or at least re-work an existing one for every Sunday and festival of the church year as well as for numerous secular occasions such as council inaugurations school and university celebrations and royal birthdays. Unfortunately not all cantatas have survived. However over 200 sacred and secular works exist and form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then.

Accent On Achievement is a revolutionary best-selling band method that will excite and stimulate your students through full-color pages and the most complete collection of classics and world music in any band method. The comprehensive review cycle in books 1 & 2 will ensure that students remember what they learn and progress quickly. Also included are rhythm and rest exercises chorales scale exercises and 11 full band arrangements among the first two books. Book 3 includes progressive technical rhythmic studies and chorales in all 12 major and minor keys. Also included are lip slur exercises for increasing brass instrument range and flexibility. Accent On Achievement meets and exceeds the USA National Standards for music education grades five through eight. This title is available in SmartMusic.

Anthem- The Anthem in the post-Reformation church music of England was initially the term given to a choral work with an English biblical text. By the end of the 17th century it begins to take on Italian stylistic elements and becomes a cantata for solo voices choir and orchestra. The anthem 'O sing unto the Lord' presented here based on words of the 96th Psalm is a particularly beautiful example of the transformation of the traditional and the modern style into a unified whole. Soprano solo Alto solo Tenor solo Bass solo Mixed choir (SATB) Strings Basso continuo Full score choral score and parts (BA2901) available for sale

1.Ouverture; 2.Sérénade; 3.Villanelle; 4.Carnaval

Cantata for Trinity Sunday- Es ist ein trotzig und verzagt Ding BWV 176 Cantata for Trinity Sunday This cantata for Trinity Sunday is the first of two such extant cantatas composed by Johann Sebastian Bach after his Leipzig appointment in 1723. This cantata is also the last in a group of nine for successive post-paschal feasts composed by Bach apparently within a few weeks on texts by the contempotary Leipzig poetess Marianne von Ziegler. It is scored for Soprano Alto and Bass soloists mixed choir (SATB) 2 Oboes Oboe da caccia Strings and Basso continuo. - Urtext of the New Bach Edition - Performance material (BA10176) choral score (BA10176-91) & study score format 22.5 x 16.5cm (TP1176) available for sale

Overture Marziale-The name Aldacum (alder wood) dates from the period of the Roman occupation and is the Latin name of the brewing town Alken in the Belgian province of Limburg. The Koninklijke Harmonie Sint-Aloysius of Alken commissioned this concert march; the occasion was the 100th anniversary of the concert band. Aldacum is stylistically reminiscent of John Williams’ film scores and will surely also appeal to a wide audience.

In this edition Moni Schönfelder combines elements of pop music (rhythm phrasing improvisation and groove) with the particularly light timbre of the recorder ensemble. Her arrangements are rhythmically clear structurally coherent and easy to master. In this way recorder players can focus on rhythmical precision phrasing and the collective “groove”. The edition includes arrangements of pop songs as well as original compositions. From the contents “The most beautiful girl” (Bourke/Sherrill/Wilson) “Come dance with me” (M. Schönfelder) “The Catwalk” (M. Schönfelder) The author Moni Schönfelder studied (jazz-) saxophone composition and arrangement. Shelives in Bavaria is a freelance musician and among other things gives courses for recorder saxophone and mixed wind ensembles.

from Cantata No 208 'The Hunt Cantata'-There are just over twenty secular cantatas in Bach's prolific output which include The Coffee Cantata (No 211) The Wedding Cantata (No 202) Phoebus and Pan (No 201) and the Hunt Cantata (No 208) which contains the famous aria Sheep May Safely Graze. Written for four vocal soloists it was originally scored for a relatively large orchestra (including flutes (recorders) oboes and horns) and mixed choir. Although secular in character the words describe how well a faithful shepherd keeps watch over his flock and hence has obvious allusions to the teachings of the Christian church. Bring a bit of the Baroque era to your concert with this first class arrangement by Philip Sparke.

Gavotte (fin de cycle 1) pour Clarinettete si b et piano. Par Delacroix aux éditions Leduc. Partition / Livre de chansons pour Clarinette

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.