Results
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£53.95
Smithsonian Suite - Brian Balmages
This 4-movement multicultural suite provides a wealth of teaching and performance opportunities, especially at the beginning level. Each movement is based on a Smithsonian National Museum in Washington D.C. (Natural History, American Indian, African Art, and Air and Space). These movements can easily be performed separately. In addition to cross-curriculum teaching, the opening theme is slightly altered in each movement, teaching the concept of variations. Strongly consider this new work.
Estimated dispatch 7-14 working days
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£54.99Soweto Swing - Peter Martin
The sparkling music from Soweto (South Africa) has a long history. The rhythmic dances of Kwela, the 'syncopated guitars' of Mbaqanga, the saxophones and trumpets with their supple African jazz sounds as well as the infectious and sometimes gripping choir singing. All these elements can be recognized when listening to the 'Soweto String Quartet', which in its turn inspired Peter Martin to write 'Soweto Swing'.
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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£13.95
Linda Merrick
1-3Battles and ChantsNigel ClarkeLinda Merrick (Clarinet) with Royal Northern College of Music Wind Orchestra I. Foreign Invader 7.20 II. Betrayal 9.03 III. Defeat of the Southern Tribes 4.334Rondo VariationsGuy WoolfendenLinda Merrick (Clarinet) with Royal Northern College of Music Wind Orchestra8.425African DancesKit TurnbullLinda Merrick (Clarinet) with Royal Northern College of Music Wind Orchestra11.326-8Clarinet ConcertoMartin EllerbyLinda Merrick (Clarinet) with Royal Northern College of Music Wind Orchestra I. Carousel 3.53 II. Cameo 7.02 III. Charabanc 4.159The Pre-Goodman RagMalcolm Arnold arr. Guy WoolfendenLinda Merrick (Clarinet) with Royal Northern College of Music Wind Orchestra2.20
Estimated dispatch 7-14 working days
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£96.00
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£59.80Maisha ni Zawadi (Flexible Ensemble - Score and Parts) - Utbult, Jan
An original piece based on the African musical tradition. Maisha ni Zawadi is Swahili and means life is a gift. The arrangement of the chorus is based on how an East African choir would have performed the song. The song is based a lot on the percussion groove, and is particularly suitable for bands and ensembles that want to show off the percussion section. Here it is possible to let many people play African rhythms on various percussion instruments.Duration: 2.00
Estimated dispatch 7-14 working days
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£195.00Johannesburg Festival Overture (Concert Band - Score and Parts) - Walton, William - Noble, Paul
Johannesburg Festival Overture was composed for orchestra by William Walton for the 70th anniversary of Johannesburg, South Africa in 1956. Walton received the commission from Ernest Fleischmann, musical director of the Johannesburg Festival Committee, to celebrate the seventieth anniversary of the city. Fleischmann included in his request to include some African themes. For inspiration he requested recordings of African music from the African Music Society. The effect of these recordings can be heard with percussionists performing on eleven instruments. The composer also incorporated the main theme from Jean Bosco Mwenda's Masanga (which had been released on record in 1954). Walton described the piece to his publisher as a non-stop gallop...slightly crazy, hilarious and vulgar. This arrangement for Concert Band captures the original colour, excitement, and energy of the original orchestra work, and should become a staple in the repertoire of excellent bands.
Estimated dispatch 7-14 working days
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£49.95Tu Ungane (Let's Join Together) (Concert Band - Score and Parts) - Watson, Scott
Tu Ungane (Swahili, pronounced TOO une-GAH-nay) means "Let's join together" and refers both to musicians coming together to play as well as African and Western styles merging musically. Western musical styles such as Gospel, Blues, and Jazz owe much to African influence. African music has been influenced by the West as well, fusing British military and brass band music, along with the hymns and songs of missionaries from Europe and the United States, with tribal folk elements. Tu Ungane explores his musical cross-pollination incorporating the Tanzanian folk song "Asali Ya Nyuki" ("Honey of Bees") and original musical material in the style of the British-African fusion.Duration: 2.00
Estimated dispatch 7-14 working days
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£32.95Time Lines (Concert Band - Score only) - Turnbull, Kit
The time line is a western musicological device that allows us to define many of the rhythms used in sub-Saharan music. It is essentially a 12-beat pattern that can be subdivided as 6x2, 2x6, 4x3, or 3x4, which generates many of the polyrhythms that are common in African music. Time Lines is a single continuous work made up of four contrasting sections which are based on various aspects of African dance and choral music. The slow introduction introduces many of the rhythms that the piece is based on and is followed by a fast section which quotes a South African hymn. Abasundu Nabamhlope (the first line of which translates as 'Black and whites, let them give thanks together'. The chorale section which follows makes use of phrases from the hymn Nkosi Sikelel' iAfrika (Lord Bless Africa) which was written in 1897 and has since been adopted as the national anthem of several countries in southern Africa. The final allegro section sees the drawing together of the various dance and choral elements used in the piece with the percussion section playing rhythmic patterns generated by the time line.Duration: 13:30Recorded on QPRM151D TIME LINES: Great British Music for Wind Band Vol.12 (Royal Northern College of Music)
Estimated dispatch 7-14 working days
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