Concert Band - Level 2 - Digital Download SKU: A0.1393874 By Aztec Camera. By Roddy Frame. Arranged by John Ivor Holland. 20th Century,Film/TV,Pop,Rock,Singer/Songwriter. 44 pages. John Ivor Holland #977342. Published by John Ivor Holland (A0.1393874). Somewhere in My Heart is a song by Scottish band Aztec Camera. It was released as the third single from their third studio album, Love (1987). Released as a single in 1988, the track peaked at number three on the UK Singles Chart and became a top-40 hit in Australia and Ireland. Songwriter Roddy Frame said in 2014 that the song has been great for him, but at the time of creating the album, the song was not in keeping with the other songs. Around this time, Frame had become somewhat of a recluse, living in a remote wooden shack in Hollywood, Marple Bridge, in the hills above Manchester, going through periods of good and bad mental health, while continuing to write music, including the lyric from Westwood to Hollywood in the song. The distinctive saxophone sound is retained and towards the end is an opportunity for your star alto and tenor to solo or battle, to close out the song in the way that it is often performed live by Aztec Camera. The song is featured prominently in the 2019 film '47 Meters Down: Uncaged' and the 2020 Netflix series 'I Am Not Okay with This'.

Concert Band - Level 2 - Digital Download SKU: A0.1492465 Composed by Christina Rossetti and Rebecca Dale. Arranged by John Ivor Holland. 21st Century,Christmas,Holiday,Religious,Sacred. 45 pages. John Ivor Holland #1069142. Published by John Ivor Holland (A0.1492465). British composer Rebecca Dale has emerged from film and television work with music that has found great success on the crossover-oriented Classic FM radio network. She became the first female composer signed to the Decca label, which rarely signs composers of any gender. Dale was born in 1985 and took to composing at a young age, by the time she was ten she had written a musical, and by 15 a piano concerto. Her vocal music has been performed across Europe and the US by groups such as Voces 8 and The Kings Singers. This new setting of Christina Rosetti's poem 'In The Bleak Midwinter' was composed in 2021 and released as a Christmas single by the Church of England - it reached number one in the classical chart and is now available for full concert band, featuring beautiful solo passages throughout and contemporary harmonies to bring something new to your usual holiday concert. Arranged as part of an ongoing project to bring more music by women composers into the worldwide concert band repertoire.

Concert Band - Level 3 - Digital Download SKU: A0.1079663 Composed by Adama Fanny, Adil Khayat, Alex Papaconstantinou, Bilal Hajji, Etienne Bouebi Kohou, John Mamann, Nadir Khayat, Narcisse Sodoua, and Salif Traore. Arranged by Benoît Barrail. 20th Century,Contemporary,Hip-Hop,Pop,R & B,Wedding. Score and parts. 32 pages. Benoît Barrail #683844. Published by Benoît Barrail (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.

Concert Band - Level 3 - Digital Download SKU: A0.1293921 Composed by Burt Bacharach and Hal David. Arranged by John Ivor Holland. 20th Century,Broadway,Jazz,Musical/Show,Pop,Singer/Songwriter. 45 pages. John Ivor Holland #884404. Published by John Ivor Holland (A0.1293921). Promises, Promises is a musical with music by Burt Bacharach, lyrics by Hal David and a book by Neil Simon, based on the 1960 film 'The Apartment' written by Billy Wilder and I. A. L. Diamond. The story concerns a junior executive at an insurance company who seeks to climb the corporate ladder by allowing his apartment to be used by his married superiors for trysts. The song 'Promises, Promises' happens right towards the end of the musical where things pretty much have fallen apart, made perfectly clear in the music by very agitated meter changes and angular harmonies. Released in 1968, the song was featured on an album by Dionne Warwick shortly before the musical debuted on Broadway and has since been covered by other artists, including Sean Hayes as part of the 2010 revival production.

Concert Band - Level 3 - Digital Download SKU: A0.1477414 By Gianni Morandi. By Bruno Zambrini and Francesco Migliacci. Arranged by Stefano Bertoni. Pop,Singer/Songwriter. 44 pages. Stefano Bertoni #1054819. Published by Stefano Bertoni (A0.1477414). In Ginocchio Da Te Gianni Morandi for concert band (voice optional)

Concert Band - Level 2 - Digital Download SKU: A0.1373472 By Kate Bush. By Kate Bush. Arranged by John Ivor Holland. 20th Century,Film/TV,Pop,Singer/Songwriter. 46 pages. John Ivor Holland #957837. Published by John Ivor Holland (A0.1373472). Cloudbusting is a song written, produced and performed by English singer Kate Bush. It was the second single released from her fifth studio album 'Hounds of Love' (1985). Cloudbusting peaked at No. 20 on the UK Singles Chart. Taking inspiration from the 1973 Peter Reich memoir A Book of Dreams, the song is about the very close relationship between psychiatrist and philosopher Wilhelm Reich and his young son, Peter, told from the point of view of the mature Peter. It describes the boy's memories of his life with Reich on their family farm, called Orgonon, where the two spent time cloudbusting, a rain-making process which involved using a machine pointing at the sky. The lyrics further describe Reich's abrupt arrest and imprisonment, the pain of loss the young Peter felt, and his helplessness at being unable to protect his father. The predominant string texture has been retained in this concert band arrangement, transposed to a more band-friendly key and the thumping percussion recalls Kate Bush's megahit 'Running Up That Hill'. Arranged as part of a project to expand the repertoire of music for concert band by women composers.

Concert Band - Level 3 - Digital Download SKU: A0.1189471 By Kate Bush. By Kate Bush. Arranged by John Ivor Holland. 20th Century,Film/TV,Pop,Singer/Songwriter. Score and Parts. 31 pages. John Ivor Holland #789109. Published by John Ivor Holland (A0.1189471). This Woman's Work was originally performed by Kate Bush (covered by American singer Maxwell in 2001, among others) and written for the climax of the film 'She's Having a Baby' (1988). It was also released as the second single from her album 'The Sensual World' (1989) peaking at 25 in the UK Singles Chart, making several reappearances over the years. Now available for concert band for the first time, this charismatic song provides elegant contrasts in mood and would be a great addition to any concert programme, particularly one showcasing the talents of women composers.

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: A0.1511499 By Enya. By Enya, Nicky Ryan, and Roma Ryan. Arranged by John Ivor Holland. 21st Century,Christmas,New Age,Religious,Singer/Songwriter. 48 pages. John Ivor Holland #1086655. Published by John Ivor Holland (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...

Concert Band - Level 4 - Digital Download SKU: A0.1000146 Composed by Calixa Lavallee. Arranged by Trevor P. Wagler. Patriotic. Score and parts. 36 pages. Trevor Wagler Editions #3245299. Published by Trevor Wagler Editions (A0.1000146). Calixa Lavallée's famous hymn, O Canada, is presented here in a fresh new ceremonial edition arranged by Trevor P. Wagler. Originally approved in 1967 as Canada's national anthem (adopted officially in 1980), this new arrangement was written to celebrate the country's sesquicentennial in 2017. This version can be used either as an instrumental feature or with singers, and is playable by any reasonably advanced concert band or wind ensemble. An excellent alternative to Ken Bray's famous band arrangement.This selection is part of the Historic Waterloo Band Series.

Concert Band - Level 5 - Digital Download SKU: A0.1505900 Composed by Gioachino Rossini. Arranged by Albert Schwarzmann. 19th Century,Opera,Romantic Period,Singer/Songwriter. 95 pages. Edition Schwalbe #1081280. Published by Edition Schwalbe (A0.1505900). La Danza is a song with lyrics by Carlo Pepoli, a poet and democratic politician of the Italian Risorgimento. Gioacchino Rossini composed the music 1835  originally for solo voice and piano. It is part of his song cycle Les soirées musicales with twelve pieces by various poets. This version was orchestrated and  arranged in the key of A minor as prefered by prominent tenors like Luciano Pavarotti. It was commissioned and first time performed by Mozarteum Wind  Philharmonic Salzburg conducted by Hansjoerg Angerer at their Three Kings' Concert on 6 January 2017 at the Grosses Festspielhaus  (Large Festival Hall) in Salzburg, Austria. The solo part was sung by Thai born tenor Nutthaporn Thammathi. A live recording of this concert is available at  https://www.salzburg-windphilharmonic.at/de/viva-litalia/ or  https://www.jpc.de/jpcng/classic/detail/-/art/viva-l-italia/hnum/10428716?iampartner=303&subid=umr12&ref=partner.jpc.de . A pure orchestral version in G minor has been published by the arranger at https://tirolmusikverlag.at/La-Danza-Tarantella-Napoletana. It has also been  recorded by Mozarteum Wind Philharmonic Salzburg at https://www.salzburg-windphilharmonic.at/de/le-rendez-voud-de-chasse/ .

Concert Band - Level 2 - Digital Download SKU: A0.1325828 By Paul Barker. By Richard Wagner. Arranged by Paul Barker. 19th Century,Classical,Contemporary,Contest,Festival. 34 pages. Paul Barker Music #914020. Published by Paul Barker Music (A0.1325828). The Mastersingers Overture is a powerful arrangement of Wagner’s famous Die Meistersinger von Nürnberg in our Classical Concert Series for Grade 2+ Flexible Instrumentation, Orchestras and Ensembles of all sizes. Perfect as a dramatic concert opener/finale or as a festival showpiece. Performance Recording MP3 is also available from here.                                                                                                              The Flexi-Band Classical Concert Series allows conductors to mix and match orchestration to meet available resources. Suitable for all common combinations of C, Bb, Eb, F, Treble, Viola, Bass Clef Orchestral/Band Instruments, Keyboards and percussion.Level: Early Bands - Grade 2+Duration: 2:40Occasion: General Concert - Main Showpiece - Opener/Finale - Competitions - FestivalsInstrumentation: Flex-Instrumentation for C, Bb, Eb, F, Treble/Viola/Bass Clef Orchestral/Band Instruments, Keyboards & Percussion    

Concert Band - Level 2 - Digital Download SKU: A0.1422717 By Lady Gaga. By Fernando Garibay, Jeppe Laursen, Paul Blair, and Stefani Germanotta. Arranged by Simone Orsini. 21st Century,Pop. 104 pages. Simone Orsini #1004068. Published by Simone Orsini (A0.1422717). BORN THIS WAY performed by Lady GagaFor Concert Band - Performance Time 3:40 - Digital DownloadComposed by Fernando Garibay, Stefani Germanotta, Paul Blair, Jeppe LaursenArranged by Simone OrsiniInstrumentation: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.

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: A0.549206 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.