Results
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£55.50The Kings of Swing (Based on We Three Kings) (Concert Band - Score and Parts) - Hoplins Jr, John Henry - Story, Michael
Here's a snappy jazz waltz treatment of the popular Christmas carol We Three Kings. A perfect holiday programming solution to bring the beat up a notch while introducing your developing band to swing style!Duration: 2:00
Estimated dispatch 7-14 working days
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£77.00Let It Snow! Let It Snow! Let It Snow!, Variations on (Concert Band - Score and Parts) - Cahn & Styne - Bullock, Jack
This work is a favourite song wishfully heard at the beginning of the winter months. This setting offers a variety of different styles applied to the melody, serenade, jazz, waltz ,and even a march, but keeping the wonderful melody front and centre!" Easy to sing and play, it is loved by all.Duration: 3:30
Estimated dispatch 7-14 working days
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£209.99Diamond Concerto (Euphonium Concerto No.3) (Euphonium Solo with Concert Band - Score and Parts) - Sparke, Philip
Diamond Concerto was commissioned by Musikverein Morschied from Germany - Dr. Eric Grandjean, conductor - for a special concert featuring Steven Mead as guest soloist. Together they gave the world premiere on 28th April 2012 in the town theatre of Idar-Oberstein. The commission is a highlight in the 30-year friendship between composer and soloist, which has included many mutual CD projects and concerts and, now, a concerto. Sparke had Steven Mead's special euphonium sound in his head throughout the composition process and made free use of the variety of styles which the world-renowned virtuoso has made his own during his highly successful solo career.The village of Morschied lies to the west of Frankfurt am Main in the area known as the German Road of Precious Stones, which is famous for its thriving gem industry. Because of this it was decided to give the commission a local connection by choosing the title, Diamond Concerto. Each of the three movements is named after a famous diamond:Earth Star is rather stern in mood, opening with a free fantasy for the soloist over a static chord from the band. This leads to an Allegro Moderato in minor mode where small motives are gradually repeated and developed by both band and soloist.Ocean Dream uses a varied quote from the composer's Music for Battle Creek, including a melting slow melody that was originally written with Steven Mead in mind.Blue Heart was written, at Steven Mead's suggestion, in bebop style and takes the form of a jazz waltz. The quasi-improvisatory central section features a call-and-response passage for the soloist and upper woodwinds.Duration: 15:45
Estimated dispatch 7-14 working days
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£77.50Bell Carol a la Big Band (Concert Band - Score and Parts) - Romeyn, Rob
The folk melody Ukrainian Bell Carol was sung in many Ukrainian villages in celebration of the New Year. Bell Carol a la Big Band is a fresh and clever treatment of the traditional carol. Contemporary harmonies are used throughout, and the infectious Jazz Waltz Swing feel makes this arrangement distinctively hip and cool. This is the favourite Bell Carol set in a way unlike any other arrangement you have heard before!Duration: 3.00
Estimated dispatch 7-14 working days
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£84.99Funk Attack (Concert Band - Score and Parts) - Schwarz, Otto M.
Otto M. Schwarz is endeavoring to contribute new ideas to concert band literature. He has contributed in the field of multimedia (Asteroid), and with his many compositions in symphonic/modern arrangement (Jazz Waltz No 1, Fire and Ice or Band Fever). His new composition Funk Attack is, as the name suggests, a piece in funk style. Otto M. Schwarz first gained his experience in his style in the 8o?s, transcribing numbers by famos Amerarican bands including "Earth, Wind and Fire", "Tower of Power"", and the British slap idol "Mark King" (Level 42). Funk attack is atypical of "the concert band scene" and requires absolute precision in phrasing and rhythm. Without the support of a great percussion groove, the orchestra plays an interlocked theme in the central section in style of recent American Big Bands. Otto M. Schwarz dedicated this work to "Alexander Veit and Symphonic Winds".Duration: 4:45
Estimated dispatch 7-14 working days
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£74.95Bill Bailey (Concert Band - Score and Parts) - Cannon, Hughie - Geldard, Bill
Bill Bailey is an old song made popular in the British Music Halls of the Victorian and Edwardian eras. As a top trombone player and bog band arranger Geldard, Bill has used familiar idioms from the circus march to the jazz waltz to provide a contemporary and entertaining score which will be ideal for any concert.
Estimated dispatch 7-14 working days
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£14.95
Bill Bailey (Concert Band - Score Only) - Cannon, Hughie - Geldard, Bill
Bill Bailey is an old song made popular in the British Music Halls of the Victorian and Edwardian eras. As a top trombone player and bog band arranger Geldard, Bill has used familiar idioms from the circus march to the jazz waltz to provide a contemporary and entertaining score which will be ideal for any concert.
Estimated dispatch 7-14 working days
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£71.28Concerto for Drum Set and Concert Band
Feature your drum set player with this exceptional Larry Neeck composition that is a sure showstopper for any concert. Starts with an impressive "rock" section in the style of Sandy Nelson that is full of energy. The second section is a delightful "jazz waltz" which spotlights the use of brushes a la Joe Morello. The finale is a bold up-tempo "swing" section in the style of the late Gene Krupa which is sure to bring down the house! First rate in every respect!
Estimated dispatch 7-14 working days
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£29.95Sound Track (Concert Band - Score and Parts) - Brien, Terence
A delightful Jazz Waltz.
Estimated dispatch 7-14 working days
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£113.30Moderate Dances - Angelo Sormani
This piece is a tribute to dance music, especially passionate, intense and meditative dance music. "Moderate Dances" is divided into three movements: a "Tango", a "Slow Waltz" and a "Bossa Nova". Each movement and each dance has its own particular characteristics but, when combined, these different rhythmic beats and times give the piece a feeling of completeness and uniformity. The Tango started to flourish in the suburbs of Buenos Aires in around 1880. There is still some doubt as to its origins, which may be Cuban (Habanera) but are probably African. It was most popular in Argentina and Brazil: here the male protagonist was originally the "gaucho" with his inseparable guitar, later to be replaced by the proud, elegant "compadre". By around 1910 the Tango had spread to Italy and France. New clubs opened, where the upper classes could watch and dance the Tango. Here the dance also underwent some rapid transformations. The exaggerated and extravagant gestures and body movements disappeared. Slow, gliding steps replaced the old rotational movements. The women's red ankle-boots and the partners "staring into each other's eyes" accentuated the erotic nature and sensuality of this dance. So much so that, in 1913, the German government banned soldiers from dancing the Tango. Those who broke the law were immediately discharged from the army. From a strictly musical perspective, the basic instruments were a flute, a harp (the diatonic harp typically played by the Indians of Paraguay) and a violin, or flute, guitar and violin or even clarinet, guitar and violin. These instruments were easy to transport, ideal for playing at parties, in the streets and in courtyards. The musicians played by ear, frequently improvising: there were no scores, no records, which is the main reason why it is impossible to trace the Tango back to its exact origins. However, the Tango's evolution (and growing popularity) was once again fostered by its fundamental ability to absorb "other" cultures, languages and sounds. And it was the arrival of the "bandoneon" (an accordion-like instrument that was invented in Germany and brought to Rio de la Plata by some immigrant), which replaced the flute, that marked the beginning of the Tango's huge success outside Argentina. A number of talented composers, above all the great Astor Piazzola (1921-1992), transformed the bandoneon from a simple accompanying instrument to a solo instrument that was to become the distinguishing feature of the 20th century Tango. The Slow Waltz originated from the Waltz, the typical dance of the Bavarian and Tyrolese peasants in the 1700s. It was composers like Johann Strauss, father and son, who carried the Waltz to its zenith in the 1800s, creating the sensual and melancholy yet joyful and charming dance we are all familiar with. When the Waltz first became popular in Germany, the members of respectable society were shocked at the closeness of the dancing partners, who had always previously danced apart. The main difference between the Waltz and Slow Waltz is that the latter has a slower, more expressive rhythm: the men wear tails and the women wear ball gowns decorated with beads and feathers and couples dance in graceful rotational movements. "Bossa Nova" is the title of the last movement in the piece. Jobim, the great Brazilian musician, described this musical genre as a combination of modern Jazz and Samba. Bossa Nova means "new wave". This was the name of the artistic and musical movement that evolved in Brazil in the late Fifties and was extremely popular throughout the Sixties. The songs are usually about love or social matters, drawing inspiration from the slums of Rio De Janeiro and the lives of their inhabitants. Bossa Nova, with its original compositions and the artistic talent of its musicians, also became hugely popular in the United States and Europe, and top Jazz musicians (Ella Fitzgerald, Stan Getz, Bob Cooper, Charlie Bird, Sonny Rollins, Dexter Gordon, Dizzy Gillespie) started to include Bossa in their repertoires.
Estimated dispatch 7-14 working days
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