SKU: A0.1511499

In 2006, Enya started work on a Christmas album of traditional carols and original tracks, but the idea was changed to a collection of songs with a Christmas or winter theme as it better suited the style of the new material. It was recorded with her long-time collaborators, arranger and producer Nicky Ryan and his wife, lyricist Roma Ryan. Journey of the Angels is from this album, 'And Winter Came...' and was written in the style of what Enya described as a slow traditional carol; she chose it as a personal highlight. The song is dedicated to the American director and editor Tim Royes, who produced the music videos for Enya's songs Amarantine and It's in the Rain and died in 2007. This arrangement for concert band is part of an ongoing project to bring more music by women composers into the worldwide repertoire and features prominent parts for Cor Anglais (cued if not available) and tubular bells (chimes) to really bring out the wintery atmosphere. The ending should just float away to nothing...

SKU: A0.1388578

The full Orchestra score of the Broadway Musical Mamma Mia!.

SKU: A0.1010767

This is the well known overture to Wagner's late opera, a comic opera as well, he Mastersingers(Die Meistersinger von Nurnberg). Has the main themes that run through the opera.  Quite  a majestic opening, with a fine fanfare motif, then quite a florid section, but ends up slower to a great conclusion.

SKU: A0.1422717

BORN THIS WAY performed by Lady Gaga
For Concert Band - Performance Time 3:40 - Digital Download

Composed by Fernando Garibay, Stefani Germanotta, Paul Blair, Jeppe Laursen
Arranged by Simone Orsini

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, Tuba, El. Bass, Drum Set, Percussion 1 (Tamb., Shaker), Percussion 2 (Bongos, Cowbell) El. Guitar, keyboard.

Additional Parts:
Bb Soprano Saxophone, Eb Horn 1, 2, 3, 4, Bb Trombone 1, 2 T.C., Bb Bass Trombone T.C., Bb Euphonium T.C., Bb Bass T.C.

Born This Way is a song by American singer Lady Gaga, and the lead single from her second studio album of the same name. Written by Gaga and Jeppe Laursen, who produced it along with Fernando Garibay and DJ White Shadow, the track was developed while Gaga was on the road with the Monster Ball Tour. Inspired by 1990s music which empowered women, minorities, and the LGBT community, Gaga explained that Born This Way was her freedom song. It was also inspired by Carl Bean and his song I Was Born This Way, released in 1977. She sang part of the chorus at the 2010 MTV Video Music Awards and announced it as the lead single from the album, released on February 11, 2011.

The song is backed by rumbling synth sounds, a humming bass and additional chorus percussion, with sole organ toward the end. The lyrics discuss the self-empowerment of the LGBT community and racial minorities. Critics positively reviewed the song, calling it a club-ready anthem. In 2023, Rolling Stone named Born This Way the Most Inspirational LGBT Song of All Time. It reached number one in over 25 countries and was her third single to top the US Billboard Hot 100 chart and the 1,000th song in that chart's history (since 1958) to reach number one. Born This Way has sold 8.2 million copies worldwide, making it one of the best-selling singles of all time.

Nick Knight directed the accompanying music video, which was inspired by surrealist painters like Salvador Dalí and Francis Bacon. Gaga is depicted as giving birth to a new race during a prologue. After a series of dance sequences, the video concludes with the view of a city populated by this race. Critics noted the video's references to the work of Madonna, Michael Jackson and fashion designer Alexander McQueen, as well as to Greek mythology and surrealism.

Gaga performed the song at the 53rd Annual Grammy Awards after coming out of an incubating vessel. Shortly after, she added it to the setlist of the last leg of the Monster Ball Tour. Born This Way was later performed on television shows, such as Saturday Night Live, Dick Clark's New Year's Rockin' Eve and Good Morning America, many of the singer's tours, and it was notably part of her Super Bowl LI halftime show set. The song was treated with different remixes, including a Country Road version recorded by Gaga herself and another by Indian production duo Salim–Sulaiman. It has been covered by artists such as Alice Cooper, Madonna, and Katy Perry.

SKU: 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.

SKU: A0.549215

A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band.
1 Piccolo
At least 2 flutes, clarinets, alto & tenor saxes
At least 1 bass clarinet
At least  2 trumpets, horns, trombones & tubas
4 timpani
Score: 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.

 

SKU: A0.1079663

Arranged for Concert Band. Magic in the Air is a 2014 single by Ivorian musical group Magic System, featuring Moroccan singer Chawki and produced by Moroccan producer RedOne. The track also appears on Magic system's album Africainement vôtre, released on 19 May 2014. The song was released in March 2014 to coincide with preparations for the 2014 FIFA World Cup scheduled for 12 June to 13 July of the same year. Despite the English title of the song, its lyrics are almost entirely in French. The single became a commercial hit in France and Belgium, earning significant airplay in stadiums during football matches. Magic in the Air est un single de 2014 du groupe musical ivoirien Magic System , mettant en vedette le chanteur marocain Chawki et produit par le producteur marocain RedOne . Le morceau apparaît également sur l'album Africainement vôtre de Magic System , sorti le 19 mai 2014. La chanson est sortie en mars 2014 pour coïncider avec les préparatifs de la Coupe du monde de football 2014 prévue du 12 juin au 13 juillet de la même année. Malgré le titre anglais de la chanson, ses paroles sont presque entièrement en français. Le single est devenu un succès commercial en France et en Belgique, bénéficiant alors d’une diffusion importante dans les stades lors des matchs de football. Arrangé pour Orchestre d'Harmonie. Ce morceau peut aussi être joué par des orchestres festifs de type fanfares ou bandas. www.benoitbarrail.com.

SKU: A0.1253943

Running is a song by English singer Jessie Ware from her debut album, Devotion (2012). It was released in the United Kingdom on 24 February 2012 and a popular remix of the song was produced by Disclosure, later featuring as a bonus track on the deluxe edition of their debut studio album, Settle (2013). This arrangement is a gentle Latin treatment, with a few twists along the way and featuring a short suggested solo for trumpet (chords are provided). Arranged as part of a project to bring more music by women into the concert band repertoire.

SKU: A0.1326661

This Hell is a song by Japanese-British singer-songwriter Rina Sawayama. It was released in May 2022 as the first single from her second album 'Hold the Girl' and contains references to numerous country and western motifs such as cowboys and horseriding; Sawayama has noted Dolly Parton and Kacey Musgraves as inspirations, as well as Shania Twain, whom Sawayama has described as The queen of country pop. This Hell was written by Sawayama while reflecting about attacks against LGBT people, often motivated by religious beliefs, stating: When the world tells us we don't deserve love and protection, we have no choice but to give love and protection to each other; I wanted to write a western pop song that celebrated COMMUNITY and LOVE in a time where the world seemed hellish. Arranged as part of an ongoing project to bring more music by women into the worldwide concert band repertoire.

SKU: A0.1492791

Ann Hampton Callaway (born May 30, 1958) is an American jazz singer, songwriter, and actress. She wrote and sang the theme song for the TV series 'The Nanny'. A native of Chicago, her father, John Callaway, was a journalist and her mother was a singer, pianist, and vocal coach. She learned scat singing from her father and a love of jazz from his record collection, and she learned classical music from her mother. 'Christmas Lullaby' was recorded by Barbra Streisand in 2001 and is featured on her album 'Christmas Memories', it was later recorded by Callaway herself and has also been covered by Ronan Tynan. This version for concert band features a solo vocal, but options for Alto Sax or Flugelhorn are provided, making it a really flexible option, providing a calmer moment within a holiday concert. This arrangement has been made as part of a project to bring more works by women composers into the worldwide concert band repertoire.

SKU: A0.1438260

DANCE THE NIGHT performed by Duo Lipa
For Concert Band - Performance Time 4:02 - Digital Download

Composed By Mark Ronson, Andrew Wyatt Blakemore, Dua Lipa, Caroline Ailin

Arranged by Simone Orsini

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, Tuba, El. Bass, Drum Set, Percussion 1 (Tamb., Shaker), Percussion 2 (Wind Chimes, Hand Clap), El. Guitar, keyboard.

Additional Parts:
Bb Soprano Saxophone, Eb Horn 1, 2, 3, 4, Bb Trombone 1, 2 T.C., Bb Bass Trombone T.C., Bb Euphonium T.C., Bb Bass T.C.

Dance the Night is a song by English-Albanian singer Dua Lipa from Barbie the Album, the soundtrack of the film Barbie (2023). Lipa and Caroline Ailin wrote it with its producers Andrew Wyatt and Mark Ronson, and the Picard Brothers also contributed production. Atlantic and Warner Records released it as the soundtrack's lead single on 25 May 2023. A pop and disco song that features cello, violin, viola, guitar and bass in its instrumentation, Dance the Night is about dancing throughout the night despite enduring sadness. Its release was accompanied by a music video, which features a cameo appearance of Barbie writer and director Greta Gerwig. Dua Lipa performed Dance the Night at the 66th Grammy Awards.

Dance the Night reached number one on the UK Singles Chart, becoming Dua Lipa's fourth number-one single in the country. In the United States, the song peaked at number six on the Billboard Hot 100, becoming the singer's fifth top-ten single in the country. Elsewhere, Dance the Night reached number-one in Ireland, Belgium, Bulgaria, Croatia, Israel, Luxembourg, and the Commonwealth of Independent States, while it peaked within the top-ten in Australia, Austria, Canada, Denmark, France, Germany, the Netherlands, New Zealand, and Switzerland. The song also peaked at number three on the Billboard Global 200. It was nominated for Song of the Year and Best Song Written for Visual Media at the 66th Annual Grammy Awards and for Best Original Song at the 81st Golden Globe Awards.