Uses: General Call To Worship ConcertScripture: Psalm 9:1; Psalm 95:1-7; Exodus 15:1-5This regal anthem of praise is designed to create a powerful effect on the listener. When performed with theoptional brass parts this choral becomes a concert-worthy presentation for festivals or mass choirs. The anthem's joyful message endears it to the sanctuary with powerful affirmations of corporate worship and quotes from thePsalms and the admonition to “Live an Alleluia!” Excellent repertoire for choirs of distinction!

This lively traditional song has been arranged for brass quartet. Parts included are Trumpet 1/2 Horn in F Horn in Eb Trombone / euphonium (TC) and Trombone / euphonium (BC).

Score and Parts-Samuel Scheidt's Canzone Bergamasca for Brass Quintet. Score and parts.Samuel Scheidt (1587-1654) was one of the influential trio of S's (with Heinrich Schutz and Johann Hermann Schein)who played an important part in both the development of German music of the early Baroque and in the survival of a high level of musical life during the devastation of the Thirty Years War.The son of a musical family of Halle in central Germany Scheidt spent most of his life in the city which saw both his birth and his death. From 1605 to 1608 however he went ot Amsterdam to study with the famous Ducth composer and organist Jan PietersSweelinck.Renowned in his day for his Vocal works - especially for his 'Concerti Sacri' - Scheidt achieved lasting fame for his revolutionary contributions to Organ literature. He introduced elements of tonal harmonyin his music and his masterwork 'Tabulatura Nova' marked the end of the German tablature system of notation for Organ.The Canzone Bergamasca marked by lively rhythms and contrapuntal inventiveness comesfrom an early collection of canzonas and dances published in Hamburg in 1621. The work is a 'chain' canzona (similar in form to the canzonas of Gabrieli) in which the material for one section develops out of the material of theprevious section uniquely linking all of the sections together. For additional contrast there is a tripla section in the middle and the work ends with a recapitulation of the first theme.The 'Bergamasca' of the title atthis period refers to the use of melodic material based on a harmonic ground derived from an Italian folk dance of the Bergamo region.

A fanfare lasting one minute for wind and brass instruments with timpani tambourine and snare drum.

for Brass Quintet-Tube planétaire n°1 aux USA pendant 6 semaines le géantissime Eye of the Tiger composé à la demande de Sylvester Stallone lui-même pour la bande originale de Rocky III (1982) est aussi pêchu et inoubliable que le film. Pour la petite histoire « l?œil du tigre » représente la rage de vaincre que l?on peut lire dans les yeux de ceux qui « en veulent »? et qu?incarne parfaitement la saga des Rocky.

Ruders writes: 'gl0rIA' is subtitled: 'a relique for large chorus and 12 brass-instruments. At the same time it is an exercise for chorus because only vowels do occur or virtually no consonants are heard. The second part of the Missa Ordinarium the Gloria in Exelcis Deo makes the literary basis of 'g10rIA' but I employ only the vowels which in their full context form a 'non-language' - fragments of a tradition. A less dim vision of the 'severed body' appears in the center of the piece where the Domini Fili-section surfaces in its original shape. 'gl0rIA' is a 20th century composer’s hommage to the innocent faith of bygone days and a fanfare in honour of ClaudioMonteverdi; thus the ever present elaborations of the introduction to the Vespro Della Beate Vergine. Superimposed on the 'torso' of Latin I wedge in a quotation from the Spanish renaissance poet Gonzalo de Berceo’s 'Duelo de la Virgen' a surrealistic Lamento in which the Jews sent by Pilate to stand guard at the tomb of Christ mock and ridicule Maria Jesu mother. Thus a shadow has been cast over the jubilant religious appraisal of the past which today’s knowledge of atrocities and enormities engineered by Mankind has - alas - made so hard to repeat.