SKU: A0.872299

The theme song to the German version was played by Ivo Robić. The UK theme song - written by Michael Carr and Ben Nisbet and later back dubbed onto all versions, was simply titled White Horses, and credited to Jacky - was sung by Irish-born Jackie Lee. It became a top 10 hit in the UK charts in April 1968. The book The Penguin Television Companion claimed it to be the best television theme in history.[3] It has been copied and used many times since, including: The theme was covered in 1968 by Claudine Longet, as a B-side to the single Nothing to Lose. Trixie's Big Red Motorbike covered the song on their second John Peel session in 1983.[4] Scottish female group Sophisticated Boom Boom covered the song in 1982 on their Peel Session. Jamie Wednesday recorded the track for their EP Vote for Love in 1987. The Trashcan Sinatras featured a version of the song on their EP Circling the Circumference (1990) The English band Kitchens of Distinction recorded a cover of the theme song during the sessions for what would be their final album, Cowboys and Aliens (1994). The song was first released in the UK as a b-side on the album's first single, Now It's Time to Say Goodbye; it was later released in the US as a b-side on the album's title track Morwenna Banks released a cover version in 1995 as her Absolutely character, The Little Girl. The film Me Without You (2001) used the Jacky stereo version on its opening credits, and a version by Lucy Street during the end credits Cerys Matthews performed the song on the compilation Songs for the Young at Heart (2007) The theme was covered by Dean and Britta on their album Back Numbers (2007) The theme was covered by Andrea Ross on her album Moon River (2007) The theme was covered by Mari Wilson on her album Pop Deluxe (2016).

SKU: A0.1076562

Holding Back the Years is the seventh track on Simply Red's debut studio album Picture Book (1985). It remains their most successful single, having reached number one on the US Billboard Hot 100 and number two on the UK Singles Chart. It is one of two Simply Red songs (the other being their cover of If You Don't Know Me by Now) to reach number one in the US. It also reached number four on the Adult Contemporary chart. Holding Back the Years had initially been released in the UK the year before, reaching number 51. The song was nominated in the category of Best Pop Performance by a Duo or Group with Vocals at the 29th Annual Grammy Awards.

SKU: A0.921074

In response to the terror attacks in their city beginning on 2013, the citizens of Paris – joined by world leaders – staged a march, nicknamed The March of Defiance on Sunday, January 11, 2015, to show the world they stood in solidarity against terrorism and hatred.

Premiered at Carnegie Hall, this work is designed to embrace and exploit, in a minimal way, this same concept.

Each new idea, often presented in a new voice, is introduced by a disruption in the 6/8 pattern, only to return to the original feel. As a new idea is introduced, it is layered upon the previously stated ideas, introduced by the additional disruption of an additional beat, always to return.

The formal structure is a relatively simple contrapuntal exercise, eventually expanding to 6 layers/species, from which the piece, while still growing dynamically, begins to thin out horizontally while adding a bit more harmonic interest (often through dissonance).

Eventually, as the tessitura of the orchestra rises and the mass of sound and layers becomes simply too much to tolerate, the march repents into a peaceful ending.

The work includes parts for Alto, Tenor and Baritone Saxophones, as well as Euphonium.

This selection is the score only. For the score and parts, please select the other work title.

SKU: A0.921070

In response to the terror attacks in their city beginning on 2013, the citizens of Paris – joined by world leaders – staged a march, nicknamed The March of Defiance on Sunday, January 11, 2015, to show the world they stood in solidarity against terrorism and hatred.

Premiered at Carnegie Hall, this work is designed to embrace and exploit, in a minimal way, this same concept.

Each new idea, often presented in a new voice, is introduced by a disruption in the 6/8 pattern, only to return to the original feel. As a new idea is introduced, it is layered upon the previously stated ideas, introduced by the additional disruption of an additional beat, always to return.

The formal structure is a relatively simple contrapuntal exercise, eventually expanding to 6 layers/species, from which the piece, while still growing dynamically, begins to thin out horizontally while adding a bit more harmonic interest (often through dissonance).

Eventually, as the tessitura of the orchestra rises and the mass of sound and layers becomes simply too much to tolerate, the march repents into a peaceful ending.

The work includes parts for Alto, Tenor and Baritone Saxophones, as well as Euphonium.

SKU: A0.945075

WHEN ONCE WE WALKED is an original level 4.5 to 5 composition for orchestra with full woodwinds, slightly reduced brass section, timpani, misc. percussion.  Performance time is about six minutes and 40 seconds which makes it the ideal duration for a featured concert selection. English horn solo is featured; also has an important piano part, but celesta or vibraphone may be substituted..

WHEN ONCE WE WALKED was inspired by a poem about the importance of spending quality time with young children.  It is a single movement work but contains four sections. This selection and other works are available at  sheetmusicplus.com,  All listings include a full mp3 audio recording and score excerpts.  You are invited to peruse our ever-growing library.  Once at sheetmusicplus.com simply type WINDCREST in the search box.  As you review repertoire needs, we hope you will consider WINDCREST MUSIC PRESS.  We look forward to supporting your programming needs.

SKU: A0.1005640

Southwood is a 20-minute, three-movement symphony for small (Schubert-sized) orchestra with an expanded percussion section. It is melodic, structured on classical formal models, and often harmonically dissonant (employing mixed meters as well).

It is scored for 2 Flutes ( II d. Piccolo), 2 Oboes ( II d. English Horn), 2 Bb Clarinets ( II d. Bass Clarinet), 2 Bassoons, 2 French Horns, 2 Trumpets in C, Timpani, Xylophone (both soft and hard mallets), Snare Drum, Bass Drum, Auxiliary Percussion (2 players - including Cymbals, Suspended Cymbal, Tambourine, Triangle, Large Gong, and Mark Tree), and Strings. 

The FINALE mp3 gives you the feel for the piece, but FINALE’S un-pitched percussion sound files are inadequate to convey the real feel of any of those instruments.  In addition, several effects such as string glissandos, Suspended Cymbal coin edge slides, and the Mark Tree parts are simply missing.

SKU: H1.C6103ODP

By Chris Rice. Luke 2.

Popular contemporary Christmas song by Chris Rice This arrangement of Chris Rice's popular contemporary Christmas song comes from Lloyd's best-selling cantata, Were You There on That Christmas Night? (Code No. 8611). The SAB setting is also included in Lloyd's collection Easy Settings III and may be sung as either SAB or as a 2-part mixed setting by simply omitting the alto. Orchestration: Conductor's Score, Flute, Oboe (Soprano Sax or Clarinet), Clarinet, Bassoon (Bass Clarinet), Horn (Clarinet), 2 Trumpets, 2 Trombones (Baritone T. C. ), Percussion I & II, Piano, Harp, 2 Violins, Viola, Cello and String Reduction.

SKU: A0.1017072

At the centre of the Norfolk city of Norwich lies Tombland. The name evokes thoughts of haunting, death and Black Plague burial pits. Actually Tombland simply means empty space and it was here that Norwich market was sited. Violence seems to have been a recurring theme in the history of Tombland. In 1549 Robert Kett led a rebellion against the enclosure of common land. After a fierce attack on Bishop Bridge, Kett and his band of followers gained access to the city and took the Mayor, Thomas Codd, prisoner. Having spent a number of years as a clergyman in the Diocese of Norwich, I can tell you that this area is very different nowadays. However, its Normal cathedral and older buildings still offer a sense of struggles past, present and future.

Inspired by Ray Sampson’s book, Tombland, this original work for full orchestra uses harmonic and rhythmic dissonance to portray the violent and oppressive struggle between those with and ‘those without. The blacksmith’s anvil heralds village life with church bells sounding and flute introducing children playing in the village square. Very quickly the scene changes as Basses offer a deep threatening tone and slowly the rhythmic confusion builds to an eventual climax. Horns then introduce a quasi carillon Dies Irae theme and flutes and piccolo enter with a haunting bird call until low strings and Cor Anglais begin the build up to chaos once again. The work’s false, dying ending suddenly gives way to a sacred style chorale leading to the very abrupt Malcolm Arnold style ending.

SKU: A0.809809

Dance Suite for Orchestra is, as the title suggests, a suite of Renaissance period dances, seven in all.  The music is a nostalgic look back with modern nuances.  The dances are: Allemande, Bourree, Galliard, Gigue, Pavane, Saltarello, and Sarabande.  Not based on any particular Renaissance composer’s work, simply an echo of music of that time.  Although it is written for full orchestra, not all instruments are used in every movement.  As in the Renaissance, each dance movement can be played separately, or, a few dances performed together without the entire suite being performed.  As such, this work is being offered as the complete suite and as individual movements.  The entire work is approximately 20 minutes and 4 seconds in length. 

SKU: A0.1428234

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Symphony No. 25 in G minor - transposed parts for Horn in F (Hn. 1, 2, 3, 4)

Sinfonie in g K. 183 (K.6: 173 dB)

These parts may be used with Barenreiter and other original editions.

These transposed parts have prevalent measure numbers, but the rehearsal letters (taken from the Barenreiter Urtext) might be in different locations in other editions. These are not edited parts, but are simply transposed into F from the publisher's original printing.

Recently performed in concert, the parts have been highly proofed and edited for clarity and accuracy.

Comment: Having both paired parts on a single staff (1st/2nd Horn; 3rd/4th Horn) can help with balance issues by allowing certain notes to be played by only one player; this is especially true for certain high notes in the 1st/2nd parts.

Original keys:

Mov. 1 - Horn 1 & 2 in B (B-flat); Horn 3 & 4 in G

Mov. 2 - Horn 1 & 2 in Es (E-flat); Horn 3 & 4 - tacet

Mov. 3 - Horn 1 & 2 in B (B-flat); Horn 3 & 4 in G

Mov. 4 - Horn 1 & 2 in B (B-flat); Horn 3 & 4 in G

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SKU: A0.1199137

Gnossienne No. 1 is a solo piano piece by French composer Erik Satie. It was written in 1890 and published in 1893. The piece is part of a series of six Gnossiennes and is perhaps Satie's best known and most frequently performed work.

The piece is written in a slow tempo and is marked Lent (slow) and douloureux (painful). It has a simple and repetitive melody played over a slow, dreamy accompaniment. The harmonies are also very sparse, often consisting of only two or three chords.

The title Gnossienne is thought to have been invented by Satie himself, and its meaning is not entirely clear. Some suggest that it is a reference to the ancient Greek city of Gnossos on the island of Crete, while others believe that it is an allusion to gnosis, a mystical knowledge in which Satie was interested. For me, I translate Gnossienne simply as knowledge.

Overall, Gnossienne No. 1 is a beautiful and haunting piece of music that has captured the imagination of audiences and performers alike for over a century.

My orchestration attempts to counter the painful character, at least in part, with a rebellion and triumph over pain. The most unusual detail is the rhythmization by the timpani, which can be perceived as a driving, an eternity of the same or also as a will to continue.

SKU: A0.1240958

This is a compilation of songs from five continents, simply arranged for orchestra, with the possible addition of saxophones to complete the forces, or replace certain instruments. There is also a piano part, which is not a reduction of the score. Grade 2 to 3.