Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #3458689. Published by jmsgu3 (A0.549200). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: small concert band, no percussion. Here is a stunningly beautiful example of Renaissance polyphony and a mesmerizing fast-paced recital number. Program this initially to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not tricky, but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes there was probably a third group near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance. First Works Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Gabrieli’s later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Concert Band - Level 2 - Digital Download SKU: A0.1284866 Composed by George Frideric Handel. Arranged by Mark Armstrong. Opera. Score and Parts. 32 pages. Seolta Music Limited #876046. Published by Seolta Music Limited (A0.1284866). Lascia ch'io pianga from Handel's opera Rinaldo arranged for soprano (Almirena) and concert band (Key F).To explore all voice and band titles from Seolta Publishing click here.

Concert Band - Level 3 - Digital Download SKU: A0.981766 Composed by G. Gabrieli. Arranged by Xlomeg. Renaissance. Score and parts. 48 pages. Sheetmusicworks #5720065. Published by sheetmusicworks (A0.981766).

Concert Band - Level 1 - Digital Download SKU: A0.772584 Composed by George Frideric Handel. Arranged by David Kocijan. Classical,Instructional. 45 pages. David Kocijan #5289801. Published by David Kocijan (A0.772584). Handel's aria from his Opera Rinaldo HWV 7 (1711) arranged for concert band. 

Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jmsgu3 #3461981. Published by jmsgu3 (A0.549206). Duration 3:00. Score 9 pg. Parts 2 pg. ea. Instrumentation: small wind band, no percussion. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Concert Band - Level 2 - Digital Download SKU: A0.739395 Composed by George Frideric Handel. Arranged by David Catherwood. Baroque,Contemporary,Instructional,Wedding. Score and parts. 17 pages. Opus 3 Music #3142059. Published by Opus 3 Music (A0.739395). Air from Rinaldo by Handel (A memorable tune by Handel arranged for young players)This arrangement is suitable for school orchestras and ensembles. The arrangement allows for a great deal of flexibility in presentation and will sound complete with as few as four players yet the scoring and generous supply of parts allows for expansion up to a full symphonic orchestra, concert band or brass band.As with all music available from Opus 3 Music this arrangement has been well tried and tested in performance - In this case in Campbell College where the orchestra of around forty young players use arrangements such as this regularly in Services and concerts in the college.THIS IS ONE OF A SERIES OF PIECES ARRANGED IN THIS FLEXIBLE INSTRUMENTATION AND AS A SPECIAL INTRODUCTION TO THE SERIES IT IS PRICED AT THE MINIMUM PRICE SMP WILL ALLOW OF $1.99 (Regular price for the series is between $9.50 and $15Each set contains a score and a full set of parts (with permission to copy to suit your own requirements) for the following instruments:Part 1 in C (Flute, Oboe 1, Violin 1)Part 1 in Bb (Clarinet 1 in Bb, Trumpet 1 in Bb)Part 2 in C (Oboe 2, Violin 2)Part 2 in Bb (Clarinet 2 in Bb, Trumpet 2 in Bb)Part 2 in Eb (Alto Saxophone, Eb Horn)Part 3 in C (Bassoon 1, Trombone)Part 3 in Eb (Alto Saxophone, Eb Horn)Part 3 in F (Horn in F)Part 3 in alto clef (Viola)Part 3 in Bb (Tenor Saxophone, Bb Trombone (treble clef)Part 4 in C (Cello, Double Bass, Bassoon 2, Bass Trombone)Part 4 in Eb (Baritone Saxophone, Eb Bass Tuba (treble clef)Part 4 in Bb (Euphonium, Bb Bass Tuba (treble clef)Percussion 

Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least  2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.  

Concert Band - Level 3 - Digital Download SKU: A0.1382178 By The Weeknd. By Abel Tesfaye, Ahmad Balshe, Jason Quenneville, Max Martin, and Oscar Holter. Arranged by Benoit BARRAIL. 21st Century,Disco,Pop,Standards. 75 pages. Benoît Barrail #966706. Published by Benoît Barrail (A0.1382178). All parts of the choir are doubled in  the instrumental parts. Blinding Lights is a song recorded in 2019 by Canadian singer The Weeknd. While referring to Las Vegas (Sin City), the singer insists on the importance of the partner in a resurgent couple relationship. Billboard magazine named it one of the best songs of the year. With its sounds of the 80s (synthesizers), this song ranks first on the charts in 34 countries and becomes the most listened to song on Spotify in 2022. Discover without delay this arrangement for 2-Part Choir and Concert Band, the band can also play without the choir.Toutes les parties de chœur sont doublées à l’orchestre. Blinding Lights est une chanson enregistrée en 2019 par le chanteur canadien The Weeknd. Tout en faisant référence à Las Vegas (Sin City), le chanteur insiste sur l’importance du partenaire dans une relation de couple renaissante. La revue Billboard l’a nommée comme l’une des meilleures chansons de l’année. Avec ses sonorités des années 80 (synthétiseurs), cette chanson se classe à la première place des hit-parades dans 34 pays et devient la chanson la plus écoutée sur Spotify en 2022. Découvrez sans tarder cet arrangement pour chœur à 2 voix égales et orchestre d’harmonie, l’orchestre pouvant également jouer sans le chœur.

Concert Band - Level 3 - Digital Download SKU: A0.1369308 By Elton John. By Bernie Taupin and Elton John. Arranged by Lorenzo Bocci. Pop,Rock. 126 pages. Lorenzo Bocci #953658. Published by Lorenzo Bocci (A0.1369308). CROCODILE ROCK Elton John & Bernie Taupinfor Concert Band (with Fanfare Band parts) - Grade 3 - Digital Download Composed by Elton John & Bernie Taupin. Arranged by Lorenzo Bocci. Pop/Rock. Concert Band - Blasorchester - Harmonie. Score and parts. With Fanfare Band parts. Duration 4'05''. Published by Lorenzo Bocci.Instrumentation:Full Score, Flute 1, 2, Oboe, Bassoon, Eb Clarinet, Bb Clarinet 1, 2, 3, Bb Bass Clarinet, Eb Alto Saxophone 1, 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, 2, 3, F Horn 1, 2, 3, 4, Trombone 1, 2, Bass Trombone, Euphonium, Bass, Electric Bass, Drum Set, Percussion (Tambourine), Electric Guitar, Piano.Additional Parts:Bb Soprano Saxophone (Concert Band), Eb Horn 1, 2, 3, 4, Bb Trombone 1, 2 T.C., B.C., Bb Bass Trombone T.C., B.C., Bb Euphonium T.C., B.C., Bb Bass T.C., B.C., Eb Bass T.C., B.C.Fanfare Band Parts:Bb Soprano Saxophone, Eb Cornet, Bb Flugelhorn 1, 2, 3.Crocodile Rock is a song written by Elton John and Bernie Taupin, and recorded in summer 1972 at the Château d'Hérouville studio in France , where John and his team had previously recorded the Honky Château album. It was released on 27 October 1972 in the UK and 20 November 1972 in the U.S., as a pre-release single from his forthcoming 1973 album Don't Shoot Me I'm Only the Piano Player, and became his first U.S. number-one single, reaching the top spot on 3 February 1973, and staying there for three consecutive weeks. In the U.S., it was certified Gold on 5 February 1973 and Platinum on 13 September 1995 by the RIAA.Subscribe to my YouTube Channel to stay updated on new releases.

Concert Band - Level 3 - Digital Download SKU: A0.1513413 By Pharrell. By Pharrell. Arranged by Benoît Barrail. 21st Century,Children,Film/TV,Pop,R & B. 72 pages. Benoît Barrail #1088287. Published by Benoît Barrail (A0.1513413). Arranged by Benoît Barrail for 2-Part Choir and Concert Band (Grade 3)All parts of the choir are doubled in  the instrumental parts. Happy is a song by Pharrell Williams first released on July 2, 2103 from the soundtrack album for the film Despicable Me 2, then on the album Girl in 2014. This was the most successful song of 2014. Check out this dynamic arrangement, it will be pleasant for singers, musicians and your audience. Arrangé par Benoît Barrail pour Chœur à 2 voix égales et Orchestre d’Harmonie (Grade 3)Toutes les parties de chœur sont doublées à l’orchestre. Happy est une chanson de Pharrell Williams parue le 2 juillet 2013, d’abord sur la bande originale du film Moi, moche et méchant 2, puis sur l’album girl en 2014. C’est la chanson qui a connu le plus de succès durant l’année 2014. Découvrez cet arrangement dynamique qui plaira très certainement aux chanteurs, aux musiciens et au public.

Concert Band - Level 3 - Digital Download SKU: A0.1382353 By Slimane. By Meir Nahum Salah, Slimane, Slimane Nebchi, and Yaacov Salah. Arranged by Benoit BARRAIL. 21st Century,Hip-Hop,Pop,R & B,Singer/Songwriter. 42 pages. Benoît Barrail #966869. Published by Benoît Barrail (A0.1382353). All parts of the choir are doubled in the instrumental parts. The song La recette (The recipe) was recorded in 2022 by Slimane, on the album Croniques d’un Cupidon (Chronicles of a Cupid). Slimane (Slimane Nebchi) is a French singer and actor who won The Voice in 2016. La recette (The recipe) is a dynamic love song in which the singer begs his partner not to leave him despite disagreements. Discover without delay this arrangement for 2-Part Choir and Concert Band, the band can also play without the choir. Toutes les parties vocales sont doublées à l’orchestre. La chanson La recette a été enregistrée en 2022 par le chanteur Slimane, sur l'album Croniques d’un Cupidon. Slimane (Slimane Nebchi) est un chanteur et acteur français vainqueur de The Voice en 2016. La recette est une chanson d’amour dynamique dans laquelle le chanteur supplie sa compagne de ne pas le quitter malgré les mésententes. Découvrez sans tarder cet arrangement pour chœur à 2 voix égales et orchestre d’harmonie, l’orchestre pouvant également jouer sans le chœur.

Concert Band - Digital Download SKU: A0.739498 Composed by George Frideric Handel. Arranged by David Catherwood. Baroque,Multicultural,Wedding,World. Score and parts. 55 pages. Opus 3 Music #5792461. Published by Opus 3 Music (A0.739498). Three of Handel's best loved tunes arranged for flexible quartets or ensembles.1. March from Scipio2. Air from Rinaldo (Lascia ch'io pianga)3. See the Conquering Hero (Thine be the Glory) from Judas MaccabeusThese arrangements are suitable for school orchestras and ensembles and more experienced players. The arrangements allow for a great deal of flexibility in presentation and will sound complete with as few as four players yet the scoring allows for expansion up to a full symphonic orchestra, concert band or brass band. Very suitable for brass or string quartets or mixed wind groups. The generous set of parts included in the download is listed below. As with all music available from Opus 3 Music these arrangements have been well tried and tested in performanceA full set contains a score and a set of parts (with permission to copy to suit your own requirements) for the following instruments:Part 1 in C (Flute, Oboe, Violin 1)Part 1 in Bb (Clarinet 1 in Bb, Trumpet 1 in Bb)Part 2 in C (Violin 2)Part 2 in Bb (Clarinet 2 in Bb, Trumpet 2 in Bb)Part 2 in Eb (Alto Saxophone, Eb Horn)Part 3 in C (Bassoon 1, Trombone)Part 3 in Eb (Alto Saxophone, Eb Horn)Part 3 in F (Horn in F)Part 3 in alto clef (Viola)Part 3 in Bb (Tenor Saxophone, Bb Trombone (treble clef)Part 4 in C (Cello, Double Bass, Bassoon 2, Bass Trombone)Part 4 in Eb (Baritone Saxophone, Eb Bass Tuba (treble clef)Part 4 in Bb (Euphonium, Bb Bass Tuba (treble clef)Percussion

Concert Band - Level 2 - Digital Download SKU: A0.522169 Composed by Chéng Màoyún (1900-1957). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 32 pages. Colin Kirkpatrick Publications #4795369. Published by Colin Kirkpatrick Publications (A0.522169). This quick and easy national anthem arrangement is essential for traveling musicians, bands, instrumental groups and both amateur and professional ensembles. You can play it with any virtually any combination of instruments: symphonic band, clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything! It will also work with an orchestra. This arrangement is in five independent parts each transposed into a variety of keys. For the most satisfying sound you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. The piano reduction can fill missing parts or can be used as the basis for an accompaniment for school use. This arrangement consists of a three-page score with fivee instrumental staves and four percussion staves (including timpani). The following parts are printed on separate pages. The score and all the parts are contained in the same PDF file.Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (oboe, glockenspiel, violin); Part 1 in E flat (alto sax, E flat clarinet); Part 1a in C (octave above concert for flute, piccolo, oboe, violin) and Part 1a in E flat (E flat cornet in brass band).Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 2 in C (violin); Part 2 in E flat (alto sax); Part 2a in C (octave above concert pitch for flute, oboe, violin); Part 2a in B flat for clarinets (9th above concert pitch); Part 2a in E flat (minor 3rd below concert for E flat alto clarinet).Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone, bassoon); Part 3 in C alto (alto clef for viola); Part 3 in E flat    (tenor horn, alto sax); Part 3 in F (French horn); Part 3a in B flat (8ve below Part 3 in B flat for 3rd clarinets in band).Part 4 in B flat (tenor sax, baritone); Part 4 in C (bass clef for trombone, euphonium, bassoon, cello); Part 4 in E flat (tenor horn); Part 4 in F (French horn).Part 5 in B flat (B flat bass, bass clarinet); Part 5 in C (bass clef for bass trombone, bassoon, tuba, double bass); Part 5 in E flat (E flat bass, baritone sax). There’s also a part for timpani, percussion (3 players) and a piano reduction.Parts 1a and 2a are provided because Parts 1 and 2 are too low for to be comfortably played by flute and oboe. By using these parts you can create a high woodwind tone above the other instruments.

Concert Band - Level 3 - Digital Download SKU: A0.1309819 By The Fifth Dimension. By Galt Macdermot, Gerome Ragni, and James Rado. Arranged by Benoit BARRAIL. 20th Century,Broadway,Musical/Show,Pop,Rock. 55 pages. Benoît Barrail #898965. Published by Benoît Barrail (A0.1309819). All parts of the choir are doubled in the instrumental parts. French lyrics. Hair is a rock musical by James Rado and Gerome Ragni (lyrics) and Galt MacDermot (music) created off-Broadway, in a cellar in Greenwich Village, in October 1967 and then played on Broadway at the Public Theater from April 1968 for four years without interruption. The New York Times said: It's finally the first musical that speaks to today. A product of the hippie counterculture and sexual revolution of the 1960s, some of his songs, inspired by New Age theory, became anthems of the peace movements against the Vietnam War. After a first export to London, the French version was created in Paris at the Théâtre de la Porte-Saint-Martin on May 30, 1969, its naked scenes causing a real scandal. The song Laissez entrer le soleil (Let the sunshine in) was performed by Julien Clerc during this French creation.Toutes les parties de chœur sont doublées à l’orchestre. Paroles françaises. Hair est une comédie musicale rock de James Rado et Gerome Ragni (paroles) et de Galt MacDermot (musique) créée «off-Broadway», dans une cave de Greenwich village, en octobre 1967 puis jouée à Broadway au Public Theater à partir d'avril 1968 pendant quatre ans sans interruption. Le New-York Times dit: « C'est enfin la première comédie musicale qui parle d'aujourd'hui ». Produit de la contre-culture hippie et de la révolution sexuelle des années 1960, certaines de ses chansons, inspirées de la théorie du New Age, sont devenues des hymnes des mouvements pacifistes contre la guerre du Viêt Nam. Après une première exportation à Londres, la version française est créée à Paris au théâtre de la Porte-Saint-Martin le 30 mai 1969, ses scènes dénudées provoquent un véritable scandale. La Chanson Laissez entrer le soleil fut interprétée par Julien Clerc lors de cette création française.

Concert Band - Level 3 - Digital Download SKU: A0.1309797 Composed by Arthur Mac Dermot, Bertrand Castelli, Gerome Ragni, Jacques Lanzman, and James Rado. Arranged by Benoit BARRAIL. 20th Century,Broadway,Musical/Show,Pop,Rock. 55 pages. Benoît Barrail #898963. Published by Benoît Barrail (A0.1309797). For 2-part choir and concert bandAll parts of the choir are doubled in the instrumental parts. Hair is a rock musical by James Rado and Gerome Ragni (lyrics) and Galt MacDermot (music) created off-Broadway, in a cellar in Greenwich Village, in October 1967 and then played on Broadway at the Public Theater from April 1968 for four years without interruption. The New York Times said: It's finally the first musical that speaks to today. A product of the hippie counterculture and sexual revolution of the 1960s, some of his songs, inspired by New Age theory, became anthems of the peace movements against the Vietnam War. After a first export to London, the French version was created in Paris at the Théâtre de la Porte-Saint-Martin on May 30, 1969, its naked scenes causing a real scandal. The song Laissez entrer le soleil (Let the sunshine in) was performed by Julien Clerc during this French creation.Toutes les parties de chœur sont doublées à l’orchestre. Hair est une comédie musicale rock de James Rado et Gerome Ragni (paroles) et de Galt MacDermot (musique) créée «off-Broadway», dans une cave de Greenwich village, en octobre 1967 puis jouée à Broadway au Public Theater à partir d'avril 1968 pendant quatre ans sans interruption. Le New-York Times dit: « C'est enfin la première comédie musicale qui parle d'aujourd'hui ». Produit de la contre-culture hippie et de la révolution sexuelle des années 1960, certaines de ses chansons, inspirées de la théorie du New Age, sont devenues des hymnes des mouvements pacifistes contre la guerre du Viêt Nam. Après une première exportation à Londres, la version française est créée à Paris au théâtre de la Porte-Saint-Martin le 30 mai 1969, ses scènes dénudées provoquent un véritable scandale. La Chanson Laissez entrer le soleil fut interprétée par Julien Clerc lors de cette création française.