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£64.60
Mambo N.5 (A little Bit of) - Damaso Perez Prado
Estimated dispatch 7-14 working days
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£59.95Variations VIII & IX (From Enigma) (Concert Band - Score and Parts) - Elgar, Edward - Brand, Geoffrey
Elgar's Variations for orchestra were written during 1898-9; they are dedicated "To my friends pictured within" Each of the 14 variations is a musical portrait to one of the composer's friends. Over the 17 bar theme which inspired the Variations, Elgar wrote the word ENIGMA. Later he said, "The ENIGMA I will not explain - its "dark saying" must be left unguessed" In Variation VIII W.N. is Winifred Norbury. In 1897 local friends organised a choral and orchestral society for Elgar to conduct. The secretaryship of The Worcester Philharmonic, as the society was called, was shared by two ladies, of whom W.N.. was one She has been described as "very sedate and calm, rather like a kind governess with Elgar, but had a sense of humour - and a laugh, rather like a deep bell". Variation IX Nimrod is Elgar's deeply felt tribute toA.J.Jaeger, his German-born friend who worked for the publisher Novello and Co. His sincere support meant a great deal to Elgar. Jaeger, in German, means "hunter". Elgar concealed this in the nickname Nimrod. The variation has become extremely popular and is often played on thoughtful occasions. In this arrangement, either W.N. or Nimrod can be played alone. However, in the Variations they are linked by Elgar in an inspired manner.
Estimated dispatch 7-14 working days
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£11.95
Variations VIII & IX (From Enigma) (Concert Band - Score Only) - Elgar, Edward - Brand, Geoffrey
Elgar's Variations for orchestra were written during 1898-9; they are dedicated "To my friends pictured within" Each of the 14 variations is a musical portrait to one of the composer's friends. Over the 17 bar theme which inspired the Variations, Elgar wrote the word ENIGMA. Later he said, "The ENIGMA I will not explain - its "dark saying" must be left unguessed" In Variation VIII W.N. is Winifred Norbury. In 1897 local friends organised a choral and orchestral society for Elgar to conduct. The secretaryship of The Worcester Philharmonic, as the society was called, was shared by two ladies, of whom W.N.. was one She has been described as "very sedate and calm, rather like a kind governess with Elgar, but had a sense of humour - and a laugh, rather like a deep bell". Variation IX Nimrod is Elgar's deeply felt tribute toA.J.Jaeger, his German-born friend who worked for the publisher Novello and Co. His sincere support meant a great deal to Elgar. Jaeger, in German, means "hunter". Elgar concealed this in the nickname Nimrod. The variation has become extremely popular and is often played on thoughtful occasions. In this arrangement, either W.N. or Nimrod can be played alone. However, in the Variations they are linked by Elgar in an inspired manner.
Estimated dispatch 7-14 working days
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£149.99Heaven and Earth Wind Band Set (Score & Parts)
An Astrological Composition. Astrology is based on the principle that each sort of time has its own quality. In order to determine the quality of a particular moment, an astrologer looks at the position of the planets in the solar sustem at that moment. Each planet has specific types of energies and its location provides unique information for a certain moment on Earth. Thus: its position in the sky tells something about what happens on Earth. In this composition the types of energies of four planets are musically translated. The four planet were not randomly chosen. There are two pairs, whose influence and energy are opposite. Venus and Mars. Venus represents the feminine principle: harmony, beauty, art, and the ability to make relationships and to keep the peace. Venus connects, and communicates in order to maintain the balance. Mars represent the masculine principle: winning, impulsiveness, enthusiasm, and sexual energy for procreation. He creates war enabling the strongest to triumph. Mars is musically depicted in a stirring march in which enthusiasm characterises the masculine character. Saturn and Jupiter. Saturn represents concentration and withdrawal: the strong notion of responsibility, seriousness, self-discipline and melancholy. Saturn is the hermit who will conquer his fears and worries in minimal conditions and by self-chastisement. This contemplative character is depicted in the music as if it is almost standing still, which also reflects the given character of this planet. Jupiter represents growth and expansion: the positive, self-confidence, the good Samaritan, the healer. Jupiter is the philosopher who will make the world a better place, sees future possibilities, and searches for eternal values. He is the prophet who sometimes rants and raves his doctrine and proclamations, resulting musically in a whirling and upbeat finale. not looking back at what has been but searching for new challenges. "Heaven and Earth" was commisioned by the Music Lending and Information Centre (MUI), a department of the library for the province of Gelderland in Arnhem, The Netherlands.Een astrologische compositie. Astrologie is gebaseerd op het principe dat elke tijd zijn eigen kwaliteit heeft. ""Tijd voor koffie"" of ""het was je tijd nog niet"" als bijvoorbeeld een baan aan je neus voorbij is gegaan. Om de kwaliteit van een moment te lezen kijkt de astroloog naar de stand van de planeten in ons zonnestelsel op dat tijdstip. Elke planeet heeft specifieke energie?n en de plaats aan de hemel geeft unieke informatie over een bepaald moment op aarde. Oftewel: de stand aan de hemel (Ouranos) vertelt iets over wat er op aarde (Gaia) gebeurt. In deze compositie worden de energie?n van vier planeten muzikaal vertaald. De vier planeten zijn niet lukraak gekozen. Het zijn twee paren, die qua invloed en energie tegenovergesteld zijn. Venus en Mars. Venus vertegenwoordigt het vrouwelijke principe: harmonieus, schoonheid, de kunst, het vermogen om verbindingen aan te gaan en de vrede te bewaren. Venus geeft door en verbindt om de balans te bewaren. Mars vertegenwoordigt het mannelijke principe: winnen, anderen aftroeven, impulsief en enthousiast, seksuele energie voor de voortplanting. Mars cre?ert oorlog om de sterkste te laten zegevieren. Venus staat tot Mars als vrede staat tot oorlog, als verbinden staat tot verbreken, als harmonie staat tot competitie. Jupiter en Saturnus. Jupiter vertegenwoordigt groei en expansie: het positieve zelfvertrouwen, de weldoener, de genezer. Jupiter is de filosoof die de wereld wil verbeteren, vooruitkijkend en zoekend naar eeuwige waarden, de profeet die soms al te bombastisch zijn leer verkondigt. Saturnus vertegenwoordigt concentratie en inkrimping: het sterke verantwoordelijkheidsbesef, soberheid, zelfdiscipline en melancholie. Saturnus is de kluizenaar die onder minimale voorwaarden en zelfkastijding zijn angsten wil overwinnen. De harde, serieuze werker die volgens vaste regels stug doorgaat om aan zijn hoge eisen te voldoen. Jupiter staat tot Saturnus als uitbreiding staat tot inkrimping, als zelfvertrouwen staat tot faalangst, als vrijheid staat tot structuur. 11:00
Estimated dispatch 7-14 working days
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£60.99The Willow Tree (Concert Band - Score and Parts) - Ni Uallachain, Padraigin - Sweeney, Michael
Although this haunting tune has the flavor and sentiment of a traditional Irish folk song, it was composed in 1995 by multifaceted artist P?draig?n N? Uallach?in. Her inspiration for the song was the idea that when we are happy or sad, the elements and the natural world are aligned with our feelings. From the wistful lyrics of the song; "Down by the river there's a tall willow tree, who weeps all night for you and me." This evocative setting for band follows this sentiment through peaks and valleys of sound and emotion. Duration: 3:15
Estimated dispatch 7-14 working days
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£202.99
The Wind Rises - Joe Hisaishi
This beautiful, lyrical melody is so colorful in the film, without having an imposing image. "The Wind Rises" (2013) does not dominate the visual, and perhaps is an ideal form of film music considering this is director Miyazaki's final production. Chamber ensembles with solos and strings are frequently used in the soundtrack, so the sound is mellow and soft. As you listen more and more, you still recognize the tradition of Ghibli music.When I arrange, I try not to visualize the image of a film. I may think of characters and story line but is it important to write music that alone is appealing and fascinating. Trying not to "overstate" the film is not needed here. If you can bring out the most appealing parts of the soundtrack, excess can be forgiven. Of course, I have not changed the musical elements of the original.I asked Mr. Tomoki Ubata (band director at Ina Gakuen Sr. High School) whom I have worked with numerous times to assist with layout. He came up with a heartwarming medley with two main parts; leading boy Jiro's gift for aeronautical design and his romance with the heroine, Natsuko.The following themes are contained in the arrangement:1. Nahoko (A Rainbow) Beginning2. Caproni (An Aeronautical Designer's Dream) C3. A Journey (An Encounter at Karuizawa) H4. The Falcon I5. Prototype 8 N6. A Journey (A Parting) & A Journey (A Dream of Flight) PIt is quite remarkable, looking back on 30 years of Studio Ghibli's achievements.(Kazuhiro Morita)
Estimated dispatch 7-14 working days
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£154.99Symphonic Variations - Jacob de Haan
This composition is based on a passacaglia theme, in which artistic perfection, symphonic drama and oriental melody lines play a role. The passacaglia is originally a dance made up of a series of variations above a bass line constantly present as an ostinato. It is not in this sense that the "Symphonic Variations" are in the passacaglia form but in the sense of the open form of the variations. Jacob de Haan, himself originally an organist, took his inspiration for this piece from the famous passacaglia for organ in C-minor by J.S. Bach. Following the introduction of the passacaglia theme (in the bass) the entry by the trumpets and trombones forms the majestic start to amusical adventure, in which this theme (often fragmentary) returns in variations. Then there follow two faster movements with dramatic contrasts and virtuose passages. Particularly striking here is the use of two characteristic intervals from the beginning of the theme namely the minor second and the augmented fourth. An apause in the composition comes in the slow bridge where a syncopated bourdon (perfect fifth) is constantly repeated. The tension grows in dynamics and harmony, and the oriental-flavour becomes obvious in the melody. We arrive at a faster movement via an accelerando, in which a perpetuum mobile based on the passacaglia theme is central. Finally the whole flows into a martial theme, in which the ostinato accompaniment n the descant derives from the passacaglia theme.
Estimated dispatch 7-14 working days
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£264.99
Diferencias on an Old Spanish Song - Yasuhide Ito
I am immensely happy that my Gloriosa, symphonic poem for band (1990), has been performed by so many bands in the last thirty years.During this period, the growth of the internet has made it much easier to access information.When I composed Gloriosa, I only had limited information about the period when Christianity and Western music was first introduced to Japan, and had to rely a lot on my imagination.However, nowadays, it is easy to obtain various source materials and to read interesting studies on the music of the past.In recent years, the music of Luis de Narvez (born ca.1500 - died between 1555-1560), Spanish composer and vihuela player, has become increasingly known, and several CDs of his music are now available.Narvez composed the earliest-known set of diferencias, a forerunner of the variation form. One of his works is Seys diferencias sobre el himno "O gloriosa domina" [Six diferencias on the hymn "O gloriosa domina"] (1538), based on the Spanish Marian hymn, and it was this melody I used in the first movement of my Gloriosa.Western music has been my musical roots since childhood, and throughout my career as a composer, it has continued to fascinate me. One could say that this has provided the inspiration for Diferencias on an Old Spanish Song, my own take on the diferencias form.Actually, such music from the early sixteenth century could sound fresh to our modern ears. So I decided to quote the melody from Narvez's Sey diferencias at the beginning and end of the piece, in order that people can get the feel for the period.The main section (bars 42-390) is formed of 13 diferencias, similar to the first movement of the Gloriosa.In the middle section, which begins after the eighth diferencia(from bar 187), one should be totally absorbed in the tranquility and the beauty of the music. Although it's in the style of a sarabande, it should be taken slower and played as pianissimo as possible.This is followed by folk-style dance music. (As only standard percussion instruments are used, try to be creative with tonal colours and sense of rhythm).The structure of the work is simple, but be aware of the connection between the sections when constructing the whole.Also, think about the tonality. Overall, the work is in F minor. The main section is basically in D minor, but from bar 102, it modulates to A flat minor and G minor, and then in the middle section it suddenly switches to A flat major (which is the furthest key from D minor, and the relative major of F minor). From bar 219, it modulates to F minor and then to C minor, then back to F minor by way of A minor.N.B. The Oboe II part can be substituted by the English Horn (as indicated in the parts). One can choose according to the player's skills or preference.Recent new compositions for wind band are often full of rhythm, dynamism, and tonal colour, and compositional techniques and orchestration have also evolved greatly. Yet on the other hand, they tend to feature fewer melodic or expressive elements. Since this work is the test piece for WMC Kerkrade 2022, I had to think about what "tests" or "challenges" to set, and I decided to compose something that doesn't involve a lot of technical display, but requires beautiful sounds and harmonies, and above all, musical expressivity. I didn't put many expression markings in the score, because I wanted the performers to think about how best to express this music. If it is played merely as notated, it's not going to sound very interesting.Christianity was introduced to Japan in the mid-16th century, but it was subsequently banned and Japan entered a period of national isolation, which meant that there was hardly any international exchange for two hundred years. As a result, the Christian hymns that were introduced prior to the isolation became almost unrecognizable over the centuries. This was the theme I explored in my Gloriosa thirty years ago.Now, in 2021, the whole world has been forced to "isolate" due to the Covid-19 pandemic. In such times, it seems pertinent that I've written a work using this melody again. I sincerely hope that people will be able to gather in Kerkrade in 2022.(English Translation:Nahoko Gotoh)
Estimated dispatch 7-14 working days
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£57.50Hambone - Libby Larsen
Libby Larsen used three inspirations from her life to write Hambone. First, she was inspired by early rock 'n roll rhythms, particularly those written by Bo Diddley, from her high school days when she had her own rock band. The second inspiration is the African-American tradition of hamboning - clapping and slapping to create fun, new rhythms, and finally the melodies of the traditional cakewalk, reminiscent of Debussy's Golliwog's Cakewalk. The curriculum explores all three of these inspirations with various musical and visual examples, and explains African American oral traditions, linking this piece to places all over the world, from Ghana and the Ivory Coast to Paris, France. A free downloadable interdisciplinary curriculum for teaching Hambone is available at www.BandQuest.org. Learn more on YouTube! BandQuest, an exciting series of new music and accompanying curricula for band, is a program published by the American Composers Forum. The series was started as a response to feedback from music educators that there is a pressing need for new, fresh band music. The heart of this program is new works written by a diverse group of leading American composers who have created challenging pieces that are a true departure from standard middle school repertoire. Every BandQuest project includes a residency component in which the composer works collaboratively with a middle school as they create their new piece. Many BandQuest pieces are accompanied by an interdisciplinary curriculum designed to assist students as they learn the music and to integrate each piece with non-music studies. Visit www.bandquest.org to learn more about this innovative series, and email [email protected] to request a free downloadable audio catalog.
Estimated dispatch 7-14 working days
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£154.99Symphonic Variations (Concert Band - Score and Parts) - De Haan, Jacob
This composition is based on a passacaglia theme, in which artistic perfection, symphonic drama and oriental melody lines play a role. The passacaglia is originally a dance made up of a series of variations above a bass line constantly present as an ostinato. It is not in this sense that the "Symphonic Variations" are in the passacaglia form but in the sense of the open form of the variations. Jacob de Haan, himself originally an organist, took his inspiration for this piece from the famous passacaglia for organ in C-minor by J.S. Bach. Following the introduction of the passacaglia theme (in the bass) the entry by the trumpets and trombones forms the majestic start to a musical adventure, in which this theme (often fragmentary) returns in variations. Then there follow two faster movements with dramatic contrasts and virtuose passages. Particularly striking here is the use of two characteristic intervals from the beginning of the theme namely the minor second and the augmented fourth. An apause in the composition comes in the slow bridge where a syncopated bourdon (perfect fifth) is constantly repeated. The tension grows in dynamics and harmony, and the oriental-flavour becomes obvious in the melody. We arrive at a faster movement via an accelerando, in which a perpetuum mobile based on the passacaglia theme is central. Finally the whole flows into a martial theme, in which the ostinato accompaniment n the descant derives from the passacaglia theme.Duration: 11:15
Estimated dispatch 7-14 working days
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