Results
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£134.99Sound Variations (Concert Band - Score and Parts) - Waignein, Andre
Sound Variations is a work comprising of eight short sections, each based on a simple theme, each characterised by a great variety of styles and sounds. It opens with a fanfare-like introduction that soon leads into the presentation of the main theme followed by five variations on this theme. Each of these variations has its own style: Swing, Latin, Waltz, March and Rock. After a final repeat of the main theme, the work comes to an end with a brilliant finale.Duration: 10:30
Estimated dispatch 7-14 working days
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£62.95Engelberg Variations (Concert Band - Score and Parts) - Harbinson, William G.
Engelberg Variations was composed for the Hibriten High School Band in Lenoir, North Carolina and is based on the hymn, "When In Our Music God Is Glorified." It opens with a flourish of activity from the brass and percussion. This gives way to the statement of the theme set in a lovely woodwind chorale featuring flutes and oboes. A lyrical trumpet solo takes the band to a soaring tutti statement of the theme which gets interrupted by a percussion-filled staccato variation. Fragments of the theme are then heard in fun variations juxtaposed against the original theme in augmentation. Engelberg Variations is destined to become a classic! Duration: 6.45
Estimated dispatch 7-14 working days
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£77.50Joyful Variations (Concert Band - Score and Parts) - Beck, Brian
Based on Beethoven's Ode to Joy. The grandeur and beauty of Joyful Variations takes the listener on a journey through one of the most famous melodies ever written, Beethoven's theme from Symphony No.9. Noble fanfares open and close these variations, set in ternary form, while sweeping renditions of the theme provide color and lyricism in a contrasting Adagio section. An excellent piece to open or close any concert! Duration: 5.00
Estimated dispatch 7-14 working days
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£206.99Chorale and Variations (Concert Band - Score and Parts) - Sparke, Philip
As the title suggests, this piece comprises a set of variations on an original chorale,which is presented in the opening bars.The chorale uses the dark middle and lower sections of the band and is extended with minor variations until a pause leads to the first real variation, marked Vivo. This is in the form of a moto perpetuo. The second variation is a beautiful Andante introduced by a solo clarinet. Following a full band climax the final variation opens with quiet, nervous energy until its main theme is introduced.The chorale makes a brief appearance until the main theme reappears. This leads to a triumphant final augmented statement of the chorale theme, decorated by the florid clarinet theme in the upper woodwinds. A dazzling concert work.Duration: 14:00
Estimated dispatch 7-14 working days
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£114.99Geneva Variations (Concert Band - Score and Parts) - Bulla, Stephen
This work is based on the 19th century American hymn melody, Resignation, which is also known as Psalm Tune (Psalm 23) based on the words The Lord Is My Shepherd. It is in the form of a theme and variations with each of the four variations evoking different moods using a fragment of the original tune. An evocative and joyful work that will make a welcome addition to your concert repertoire.Duration: 6.00
Estimated dispatch 7-14 working days
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£95.00MOCKBEGGAR VARIATIONS (Concert Band) - Woolfenden, Guy
Includes: Prelude, Theme and Five VariationsUnlike my other pieces for concert band, Mockbeggar Variations has no roots in any of my work for the Royal Shakespeare Company, but resulted from a commission by Robert Roscoe for the Berkshire Youth Wind Orchestra, with funds provided by the Berkshire Young Musicians Trust. Robert, on learning that I was stuck for a suitable title, and noting my penchant for the unusual, suggested the address of the Trust - Mockbeggar House - might take my fancy.The Prelude hints at the melodic and harmonic material of the Theme, which appears in the thirty-first bar, distributed between various solo instruments and small groups of players. The five succeeding variations are contrasted in mood, tempo, style and instrumentation.A large part of the score was written in a chalet high in the Swiss Alps with a continual clangour of sixteen different pitches of cow bell constantly ringing in my ears. There is no Mahlerian hint of this in the music, nor was my wife, Jane, successful in shooing the cows away or muffling their bells.....! - GW
Estimated dispatch 7-14 working days
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£79.95Variations on 'Was Lebet' (Concert Band - Score and Parts) - Wainwright, Andrew
Variations on 'Was Lebet' is based on the German chorale of the same name, the first line of which translates as 'O worship the Lord in the beauty of holiness!' The opening fanfare figure in the Trumpets should be supported by bold, organ-like sostenuto chords in the lower band. Ensure that the fanfare in the Trumpets and Trombones from bars 25 to 28 is given equal articulation and volume in the antiphonal parts. After this majestic introductory section, the first of five contrasting variations is presented, although the tune is never realised in full form until the final variation, with fragments gradually being revealed as the piece progresses.Variation I is somewhat classical in approach, with its energy coming from a regular contrast between cantabile references to the theme, set against lively staccato figures. Ensuring a lightness of touch will be important here; the music should be poised and never sound frantic. As a result, careful attention should be paid to the tempo marking, being no quicker than 136 beats per minute. Snippets of the chorale come and go, with the last phrase of the hymn completing the movement. This final statement, at bar 95, should be an immediate change in tempo and a separate statement to the music that comes before.Variation II is plaintive in mood, giving the listener the chance to reflect on the following words, which form part of the second verse: 'Comfort thy sorrows and answer thy prayerfulness, Guiding thy steps as may best for thee be.' There is opportunity for rubato in this movement, at the discretion of the conductor.Variation III is somewhat quirky and volatile in nature, and takes its inspiration from the 3rd and 4th verses which describe the fearful times in life that we must entrust to the Lord. Driven by the Percussion section in particular, there are references here to Variation I with its chorale-like figures and hurtling scalic figures, and there is a feeling of a lack of resolution. A somewhat abrupt ending suggests that our sense of completeness in Christ is yet to be resolved. It is important that clarity and tempo are maintained in the bass line between sections L and M. Aim for consistency of line in the bass parts, particularly with the trade-offs between players here.There is a French romantic feel to the waltz in Variation IV, with the opportunity for various soloists to display their musicianship. A sense of ironic humour pervades throughout. The Clarinet and Bassoon duet from section U should be playful and display a lightness of touch, with that sense of style continued throughout the movement.Variation V is fugal in nature, with each section of the band being handed the theme at various points. Again it is important that a steady tempo is set at Y in order to maintain control. The sense of momentum gradually increases to a grandiose presentation of the full theme, beginning at section CC, affirming our completeness in the Lord, with the words of the first and last verses reiterated: O worship the Lord in the beauty of holiness! Bow down before him, his glory proclaim; With gold of obedience and incense of lowliness, Kneel and adore him, the Lord is his name.Duration: 11.45
Estimated dispatch 7-14 working days
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£15.95Variations on 'Was Lebet' (Concert Band - Score only) - Wainwright, Andrew
Variations on 'Was Lebet' is based on the German chorale of the same name, the first line of which translates as 'O worship the Lord in the beauty of holiness!' The opening fanfare figure in the Trumpets should be supported by bold, organ-like sostenuto chords in the lower band. Ensure that the fanfare in the Trumpets and Trombones from bars 25 to 28 is given equal articulation and volume in the antiphonal parts. After this majestic introductory section, the first of five contrasting variations is presented, although the tune is never realised in full form until the final variation, with fragments gradually being revealed as the piece progresses.Variation I is somewhat classical in approach, with its energy coming from a regular contrast between cantabile references to the theme, set against lively staccato figures. Ensuring a lightness of touch will be important here; the music should be poised and never sound frantic. As a result, careful attention should be paid to the tempo marking, being no quicker than 136 beats per minute. Snippets of the chorale come and go, with the last phrase of the hymn completing the movement. This final statement, at bar 95, should be an immediate change in tempo and a separate statement to the music that comes before.Variation II is plaintive in mood, giving the listener the chance to reflect on the following words, which form part of the second verse: 'Comfort thy sorrows and answer thy prayerfulness, Guiding thy steps as may best for thee be.' There is opportunity for rubato in this movement, at the discretion of the conductor.Variation III is somewhat quirky and volatile in nature, and takes its inspiration from the 3rd and 4th verses which describe the fearful times in life that we must entrust to the Lord. Driven by the Percussion section in particular, there are references here to Variation I with its chorale-like figures and hurtling scalic figures, and there is a feeling of a lack of resolution. A somewhat abrupt ending suggests that our sense of completeness in Christ is yet to be resolved. It is important that clarity and tempo are maintained in the bass line between sections L and M. Aim for consistency of line in the bass parts, particularly with the trade-offs between players here.There is a French romantic feel to the waltz in Variation IV, with the opportunity for various soloists to display their musicianship. A sense of ironic humour pervades throughout. The Clarinet and Bassoon duet from section U should be playful and display a lightness of touch, with that sense of style continued throughout the movement.Variation V is fugal in nature, with each section of the band being handed the theme at various points. Again it is important that a steady tempo is set at Y in order to maintain control. The sense of momentum gradually increases to a grandiose presentation of the full theme, beginning at section CC, affirming our completeness in the Lord, with the words of the first and last verses reiterated: O worship the Lord in the beauty of holiness! Bow down before him, his glory proclaim; With gold of obedience and incense of lowliness, Kneel and adore him, the Lord is his name.Duration: 11.45
Estimated dispatch 7-14 working days
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£62.95Over the Rainbow, Variations on (Concert Band - Score and Parts) - Arlen & Harburg - Phillippe, Roy
Initially this lush melody is presented with a soaring trumpet solo and warm full-band accompaniment. Then the variations include a cha-cha version and an oom-pah version. Consider programming all four Roy Phillippe variations to the Wizard of Oz, including "Ding Dong the Witch is Dead" and "If I Only Had A Brain". A most creative set of arrangements!Duration: 5:45
Estimated dispatch 7-14 working days
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£42.50Variations on a Theme by Mozart (Concert Band - Score and Parts) - Mozart, Wolfgang Amadeus - McGinty, Anne
Based on Mozart's keyboard variations on "Ah! Vous Dirai-je, Maman," K. 265, the main theme of this arrangement is also known as "Twinkle, Twinkle, Little Star." The variations are sophisticated yet easy to learn, and every section in the band has a chance to play the melody. Creative and effective writing for beginning players. Duration: 2.30
Estimated dispatch 7-14 working days
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