Results
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£66.951812 Overture (Concert Band - Score and Parts) - Tchaikovsky, Peter Ilyich - Williams, Mark
This powerful arrangement makes one of Tchaikovsky's most popular and dramatic orchestral works accessible for grade 3 concert bands. The expresive chorale that opens the work has been reworked for brass and bass clarinet, and its dramatic restatement near the end of the piece has been transposed down a perfect fourth so your trumpets will ring through right to the end. Mark Williams also offers some creative alternatives to achieve the cannon sounds. Close your next concert with this all-time classic!Duration: 7.15
Estimated dispatch 7-14 working days
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£60.00Derbyshire Cavalry Marches (Concert Band - Score and Parts) - Haydn, Joseph - Hash & Walters
Haydn wrote these marches during his second trip to London in 1794-95. The original autograph is titled "Two Marches Composed by J. Haydn for Sir Henry Harpur... to the Volunteer Cavalry of Derbyshire, embodied in the year 1794". Scored for the typical military band of the time, the instrumentation included a trumpet, two horns, two clarinet, two bassoons and a serpent (a curved bass instrument played with a cupped mouthpiece). Percussion parts would have been added by the regimental drum major and played by soldiers, not regular musicians. Due to a lack of printed marching books at the time, selection had to be short to facilitate easier memorisation. In this arrangement for modern concert band, the marches have been transposed from the original keys to Bb and F Major. Percussion parts have also been added by the arrangers and can be used at the director's discretion. Though these marches have been scored with the intermediate level band in mind, the integrity of the originals have been maintained, making them of interest to musicians and music students alike, at all levels.
Estimated dispatch 7-14 working days
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£115.00DIVERTIMENTO FOR BAND (Concert Band) - Woolfenden, Guy
Includes:I. ToccataII. AubadeIII. ScherzoMany of the principal musical ideas for Divertimento for Band are derived from music composed for a documentary film called Country Camera, which celebrated the work of the earliest photographers who recorded a way of life which vanished at the outset of the first World War.The three movements are played without a break. The Toccata pits a four-note motif (which always appears with its mirror image) against several other derived ideas, including a sour horn (later trumpet) figure, a tiny lyrical passage initiated by a solo alto saxophone, and a more gentle, but still staccato episode. Many polytonal devices keep the four-note motif active. The Aubade contrasts a lyrical pastorale, initiated by a solo flute, with a more intense central section on the brass. The Scherzo finale has three main ideas; a tune for principal bassoon and euphonium of a playful child-like nature, a rushing figure for the woodwinds later developed by the full band, and a solo for trumpet and clarinet, involving a descending scale and a lyrical wide-leaping recovery. The exuberant coda is derived from themes from the previous two movements.The world premiere of Divertimento for Band was given at the conference of the World Association for Symphonic Bands and Ensembles in Killarney on 13th July 2007 conducted by the composer, and is affectionately dedicated to Keith Allen, Jayne Rollason and Birmingham Symphonic Winds. -GW
Estimated dispatch 7-14 working days
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£31.68It's Bandtastic (Concert Band - Score and Parts)
This is an exceptional concert or festival piece for the end of the first year or for second year bands. It contains all of the unmistakable Swearingen magic and yet remains very playable. A great vehicle for teaching syncopation as well as musical style, all of the ranges are very moderate, and with the exception of a few notes in the first clarinet part, all of the clarinets remain below the break.
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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£6.99Concert Time (Bb Bass Clarinet) - Nowlin & Pearson
Concert Time, by Bruce Pearson and Ryan Nowlin, is a collection of twelve songs written for beginning or young band. An excellent compilation and variety of music styles, Concert Time includes festival pieces, concert marches, classical transcriptions, lively lighter songs, and originals. With accessible, grade-appropriate rhythms, highlights also include clarinets staying below the break in each song, melodies are written in every section, and the Drums, Mallets, Auxiliary Percussion, and Timpani are all in one book. With reinforced orchestration throughout the ensemble, each piece was composed or arranged with the young player in mind and will prove to be accessible and musically satisfying to the player and the audience. Each concert time part book includes a Fingering Chart and Preparatory Melodies. Concert Time is part of the Tradition of Excellence series and is an outstanding addition to any band curriculum. Includes: The Holidays are Here; North Winds; A Journey Together; Fire Rock; Home Days; One of These Days; To the Castle; The Earle of Oxford's Marche; On the Carousel; Practice Report Blues; Psalm and Dance; Steadfast Overture.
Estimated dispatch 7-14 working days
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£6.99Concert Time (E? Alto Clarinet) - Nowlin & Pearson
Concert Time, by Bruce Pearson and Ryan Nowlin, is a collection of twelve songs written for beginning or young band. An excellent compilation and variety of music styles, Concert Time includes festival pieces, concert marches, classical transcriptions, lively lighter songs, and originals. With accessible, grade-appropriate rhythms, highlights also include clarinets staying below the break in each song, melodies are written in every section, and the Drums, Mallets, Auxiliary Percussion, and Timpani are all in one book. With reinforced orchestration throughout the ensemble, each piece was composed or arranged with the young player in mind and will prove to be accessible and musically satisfying to the player and the audience. Each concert time part book includes a Fingering Chart and Preparatory Melodies. Concert Time is part of the Tradition of Excellence series and is an outstanding addition to any band curriculum. Includes: The Holidays are Here; North Winds; A Journey Together; Fire Rock; Home Days; One of These Days; To the Castle; The Earle of Oxford's Marche; On the Carousel; Practice Report Blues; Psalm and Dance; Steadfast Overture.
Estimated dispatch 7-14 working days
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£7.99Concert Time (1st & 2nd Clarinet) - Nowlin & Pearson
Concert Time, by Bruce Pearson and Ryan Nowlin, is a collection of twelve songs written for beginning or young band. An excellent compilation and variety of music styles, Concert Time includes festival pieces, concert marches, classical transcriptions, lively lighter songs, and originals. With accessible, grade-appropriate rhythms, highlights also include clarinets staying below the break in each song, melodies are written in every section, and the Drums, Mallets, Auxiliary Percussion, and Timpani are all in one book. With reinforced orchestration throughout the ensemble, each piece was composed or arranged with the young player in mind and will prove to be accessible and musically satisfying to the player and the audience. Each concert time part book includes a Fingering Chart and Preparatory Melodies. Concert Time is part of the Tradition of Excellence series and is an outstanding addition to any band curriculum. Includes: The Holidays are Here; North Winds; A Journey Together; Fire Rock; Home Days; One of These Days; To the Castle; The Earle of Oxford's Marche; On the Carousel; Practice Report Blues; Psalm and Dance; Steadfast Overture.
Estimated dispatch 7-14 working days
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£79.50Smoke and Mirrors (Concert Band - Score and Parts) - Buckley, Robert
Imagine a misty hall of mirrors where, one by one, colorful, bizarre characters materialize out of the shadows and begin dancing a wild, mysterious waltz. Starting tentatively at first, the music whirls and twirls, spinning and turning, eventually becoming faster and faster, building to a frenzied climax when, in a puff of smoke, everyone disappears! Featuring solos for trumpet, alto saxophone, flute, and clarinet, and a duet for piccolo and tuba, "Smoke and Mirrors" is full of sweeping melodies, energetic percussion, harmonic surprises, and dramatic shifts in dynamics. Sure to bring a spark of magic to any concert. Duration: 5:00
Estimated dispatch 7-14 working days
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