Results
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£84.50Tahiti Trot (Concert Band - Score and Parts) - Youmans, Vincent - Brubaker & Shostakovich
Borrowing melodic material from "Tea for Two," Dmitri Shostakovich's Tahiti Trot explores the familiar tune in a variety of settings based upon the characteristic fox trot form. Published originally in 1926, the creation was a challenge issued by conductor Nickolai Malko to orchestrate it in less than an hour. Leaving time for a cup of tea, Shostakovich completed it in 45 minutes! You'll be thrilled with the ultra-musical outcome!Duration: 3:50
Estimated dispatch 7-14 working days
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£72.00E Pluribus Unum (Concert Band - Score and Parts) - Jewell, Fred - Glover, Andrew
Fred Jewell's magnificent E Pluribus Unum march has been a staple of experienced bands for decades; Andrew Glover's new arrangement for the Barnhouse "Heritage of the March" series finally brings this classic American march into the grasp of modern concert bands. This toe-tapping patriotic gem will challenge your band but prove a favorite of audiences and performers alike. Carefully scored for today's bands, this march is not simplified in any way, but faithfully follows the composer's original work while conforming to contemporary instrumentation and performers. First class in every way!Duration: 3.15
Estimated dispatch 7-14 working days
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£87.99Burning Love (Concert Band - Score and Parts) - Linde, Dennis - Oud, Thijs
In the seventies, Elvis Presley gave many concerts with an orchestra that included a large wind section. These concerts were characterised by enthusiasm and a fast tempo. Burning Love was one of the up-tempo numbers where the bass guitar player played an especially important role. Thus, this arrangement of Burning Love, written by Thijs Oud, brings a specific challenge for the musicians in the low register. The trumpets and the trombones can also play standing behind the band adding to the visual and dynamic enhancement. Duration: 3.30
Estimated dispatch 7-14 working days
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£73.50L'Esprit du Tour (Concert Band - Score and Parts) - Bass, Randol Alan
This remarkable piece captures the excitement, physical challenge, intensity and, ultimately, the thrill and sense of accomplishment a rider might experience during such a gruelling and demanding physical trial as Le Tour de France. Both tonal and non-tonal compositional materials, some indeterminate and serial techniques, special percussion (a six-tom-tom cluster, heavy chains and four metal plates) along with traditional and non-traditional development procedures are used -impressing upon listeners, through sound, a sense and feel of competitive bicycling, from the point of view of the athletes themselves. In hopes of imbuing the music with the flavour of the various cultures coming together for this contest, the composition contains extant source material as well - including La Marsellaise, The Star-Spangled Banner and a brief reference to The Eyes of Texas.Duration: 4.45
Estimated dispatch 7-14 working days
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£49.95Quasi Pizzicati (Concert Band - Score and Parts) - Delibes, Leo - Brand, Geoffrey
Pizzicati is a direction to players of stringed instruments to play the notes by plucking the strings with the finger. So 'Quasi Pizzicati' (quasi=like) is an invitation to wind players to produce the effect of plucking the sound by the use of staccato. An interesting challenge! the music is from the ballet, Sylvia, by French composer Leo Delibes (1836-1891). Its light-handed touch deftly conjures a scene of graceful ballerinas, poised on points of toes, making staccato-like movements.
Estimated dispatch 7-14 working days
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£9.95
Quasi Pizzicati (Concert Band - Score Only) - Delibes, Leo - Brand, Geoffrey
Pizzicati is a direction to players of stringed instruments to play the notes by plucking the strings with the finger. So 'Quasi Pizzicati' (quasi=like) is an invitation to wind players to produce the effect of plucking the sound by the use of staccato. An interesting challenge! the music is from the ballet, Sylvia, by French composer Leo Delibes (1836-1891). Its light-handed touch deftly conjures a scene of graceful ballerinas, poised on points of toes, making staccato-like movements.
Estimated dispatch 7-14 working days
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£118.99Showdown for Band (Concert Band - Score and Parts) - Tinner, Gilbert
Showdown for Band was written as a compulsory exercise for the Third International Light Music Competition at St. Gallen, Switzerland in 1998. The intention of the composer was to write a piece in a light music style that would at the same time challenge the various bands, particularly in the area of rhythm. The work is divided into four parts: Opening, Ballad, Finale and Ending. Using melodies that are easy on the ear and varied instrumentation, many facets of the entire band are displayed. The solo in the middle part can be played by either soprano or alto saxophone, or even by a flugel horn. The impressive composition contains many musical elements, which makes the work an especially suitable piece with which to open a light classical concert.Duration: 7.30
Estimated dispatch 7-14 working days
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£68.00Arioso (from Cantata No.156) (Concert Band - Score and Parts) - Bach, Johann Sebastian - Reed, Alfred
Soft, delicate, sensitive, and meant to be performed at a very slow tempo, this superlative Alfred Reed arrangement is a wonderful addition to the band repertoire. Definitely written for mature bands, the notes aren't hard, but the music itself will challenge the skills of even the very best bands. Exceptional music!Duration: 5.00
Estimated dispatch 7-14 working days
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£164.95Euphonium Concerto (Concert Band - Score and Parts) - Ellerby, Martin
This Euphonium Concerto was written between late 1994 and early 1995 in response to a commission from Steven Mead to whom the work is dedicated. It is cast in four movements and lasts a little over 22 mins:I. Fantasy: After the briefest of introductions, the solo euphonium enters with the key melodic phrase of the movement in a fast 'Tempo I'. This idea is developed up to the point where a slower 'Tempo II' breaks the argument - here the mood is reflective but it is only to be a brief interruption as 'Tempo I' returns very quickly. The opening material is then subjected to further transformation with 'Tempo II' making occasional returns en route, the distances between the contrasting tempi becoming ever closer, and the movement closes in a rather soft though definite manner.II. Capriccio: This relatively short presto movement forms a bridge between the first movement and the work's slow movement. The majority of the band parts are bright and muted with the percussion players enhancing the texture with contributions from xylophone, glockenspiel and vibraphone. Again the initial solo euphonium phrase provides the basis for almost all the movement's material. This is extremely virtuosic for the soloist and band alike and makes great play of the rhythmic possibilities of combining simple and compound music either in close proximity or together.III. Rhapsody (for Luis): A Lento movement, sitting between two different but essentially rapid ones, this provides the work's emotional core exploiting the soloist's cantabile qualities in an almost seamless fashion. Again, as will all the work's movements, the initial idea paves the way for subsequent development, eventually culminating in a passionate climax; thereafter it winds down with an affectionate backward glance towards the close of the the slow movement of the Euphonium Concerto of Joseph Horovitz, whose mark had been made indelibly on the euphonium repertoire. This movement is dedicated to Luis Maldonado who set the full score of the brass version before his untimely death.IV. Diversions: The work's variation finale is cast in 3/4 throughout though the barline is often a guideline and was seen by the composer as a challenge of metrical restraint! There is an obvious jazz feel to this movement (both rhythmically and harmonically) with a swaggering ritornello theme first announced by the solo euphonium. Thereafter follows a series of interludes and 'adjusted' returns of the main theme. A lyrical idea is allowed to enter but the underlying momentum is ever present. The band also contributes to the interludes and eventually the tempo increases towards a 'wild' and absolute conclusion.Duration: 22.30Recorded on QPRM143D Dreamscapes, Royal Northern College of Music Wind Orchestra
Estimated dispatch 7-14 working days
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£32.95
Euphonium Concerto (Concert Band - Score only) - Ellerby, Martin
This Euphonium Concerto was written between late 1994 and early 1995 in response to a commission from Steven Mead to whom the work is dedicated. It is cast in four movements and lasts a little over 22 mins:I. Fantasy: After the briefest of introductions, the solo euphonium enters with the key melodic phrase of the movement in a fast 'Tempo I'. This idea is developed up to the point where a slower 'Tempo II' breaks the argument - here the mood is reflective but it is only to be a brief interruption as 'Tempo I' returns very quickly. The opening material is then subjected to further transformation with 'Tempo II' making occasional returns en route, the distances between the contrasting tempi becoming ever closer, and the movement closes in a rather soft though definite manner.II. Capriccio: This relatively short presto movement forms a bridge between the first movement and the work's slow movement. The majority of the band parts are bright and muted with the percussion players enhancing the texture with contributions from xylophone, glockenspiel and vibraphone. Again the initial solo euphonium phrase provides the basis for almost all the movement's material. This is extremely virtuosic for the soloist and band alike and makes great play of the rhythmic possibilities of combining simple and compound music either in close proximity or together.III. Rhapsody (for Luis): A Lento movement, sitting between two different but essentially rapid ones, this provides the work's emotional core exploiting the soloist's cantabile qualities in an almost seamless fashion. Again, as will all the work's movements, the initial idea paves the way for subsequent development, eventually culminating in a passionate climax; thereafter it winds down with an affectionate backward glance towards the close of the the slow movement of the Euphonium Concerto of Joseph Horovitz, whose mark had been made indelibly on the euphonium repertoire. This movement is dedicated to Luis Maldonado who set the full score of the brass version before his untimely death.IV. Diversions: The work's variation finale is cast in 3/4 throughout though the barline is often a guideline and was seen by the composer as a challenge of metrical restraint! There is an obvious jazz feel to this movement (both rhythmically and harmonically) with a swaggering ritornello theme first announced by the solo euphonium. Thereafter follows a series of interludes and 'adjusted' returns of the main theme. A lyrical idea is allowed to enter but the underlying momentum is ever present. The band also contributes to the interludes and eventually the tempo increases towards a 'wild' and absolute conclusion.Duration: 22.30Recorded on QPRM143D Dreamscapes, Royal Northern College of Music Wind Orchestra
Estimated dispatch 7-14 working days
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