Results
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£56.50Quintology (Concert Band - Score and Parts) - Meyer, Richard
The name says it all! Leave it to the ever-crafty Richard Meyer to base an entire piece on the number five. Its "quintological" features include utilizing a five-part form, including perfect fiffhs, pentatonic scales, 5/4 time, 2/4 + 3/4 time and much more. This piece is all things five! Program Quintology on your next concert and your band will have five times the fun! Duration: 4.45
Estimated dispatch 7-14 working days
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£53.95The Flintstones Meet The Jetsons (Concert Band - Score and Parts) - Sebesky, Gerald
The Stone Age meets the Future! Themes from two of Hanna-Barbara's best-loved cartoons come together in a salute to those wonderful characters that we've all grown to love. Here's a great and very easy scoring of music that will bring guaranteed smiles to the faces of any and all of your audience members -- that is, if you "ya-ba-da-ba-doo" it right! Duration: 1.15
Estimated dispatch 7-14 working days
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£84.50007 - A James Bond Medley (Concert Band - Score and Parts) - Gold, Marty
The master of mystery and intrigue continues to fascinate all of us, generation after generation, with charismatic motion picture after motion picture, each with uniquely memorable scores. Marty Gold salutes 007, in all his glory, with The James Bond Theme, Goldfinger, and From Russia With Love. Sophisticated and tasty!Duration: 4:15
Estimated dispatch 7-14 working days
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£62.95Morning Madness (Percussion Section Feature with Concert Band - Score and Parts) - Clark, Larry
What strikes a note of fear in every living, breathing man, woman and child? The title of this zany salute 'says it all!' From the insistent buzzing of the alarm clock to the rush hour race down the highway, Morning Madness uses all of the 'morning sounds' and gives your group a marvelous opportunity to become inventive. Be sure to throw in as many visuals as your percussion section can manage. 'Tis a hoot! Duration: 3.45
Estimated dispatch 7-14 working days
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£114.99Acclamation (Concert Band - Score and Parts) - Curnow, James
An excellent work for contest and festival use! Based on the ancient hymn, All Glory, Laud and Honour, Acclamation is composed as a set of symphonic variations. After an opening fanfare and a statement of the theme, three large variations in different styles are developed. A final maestoso presentation of the principal theme is restated as a glorious acclamation. Dedicated to all those who offer their time and talents to making music!Duration: 7.15
Estimated dispatch 7-14 working days
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£84.50Dave Brubeck: It's About Time (Concert Band - Score and Parts) - Sayre, Charles
The Dave Brubeck Quartet literally broke the ice regarding odd time signatures with their recordings Time Out and Time Further Out. Today, the ability to play in all time signatures is in every musician's repertoire. Charles Sayre skillfully combines "Take Five," "Unsquare Dance," and "Blue Rondo a la Turk" to take us back to when it all began. This is a magnificent medley! Duration: 4.45
Estimated dispatch 7-14 working days
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£53.95March of the Magical Toys (Concert Band - Score and Parts) - Smith, Robert W.
"'Twas the night before Christmas and all through the house, not a creature was stirring, not even a mouse. Santa had dropped through the chimney with care, hoping the children would be up the stairs. He placed all the toys round the tree with delight, and wiggled his nose at the stroke of midnight. The toys came alive and marched round and round, singing and dancing to holiday sounds." So begins Robert W. Smith's program notes. Need more be said? Here is that "Smith creativity" at its finest!Duration: 2:30
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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£189.99Godzilla Eats Las Vegas (Concert Band - Score and Parts) - Whitacre, Eric
Note from Composer:It took me seven years to get my bachelor's degree from the University of Nevada, Las Vegas. By the time I graduated I was ready to eat Las Vegas.Tom Leslie asked me to write another piece for the group as I was leaving, and I thought it would be a blast to do something completely ridiculous. The players are called upon to scream in terror, dress like Elvises (Elvi), and play in about thirty different styles from mambo to cheesy lounge music. The audience follows a script that I wrote simulating a campy, over the top Godzilla movie (is there any other kind?).I wrote the bulk of the piece while in my first year at Juilliard, and no kidding, I used to act out the script every morning devouring animal crackers, wreaking havoc all over the breakfast table. The script was originally twice as long, and had an entire subplot devoted to a young scientist and his love interest. As I started to finish the piece, however, it didn't seem that funny and that story (along with an extended Elvis tribute) ended up on the cutting room floor.The idea that this piece is being played all over the world in such serious concert venues is the single funniest thing I have ever heard. It has been played on the steps of the Capitol by the United States Marine Band, by the Scottish National Wind Symphony (they play in kilts, so help me God), and I have a video of a Japanese audience visibly confused and shaken by the whole experience. Can you imagine? I'm laughing my head off even as I write this!Godzilla Eats Las Vegas! was commissioned by the University of Nevada Las Vegas, Thomas G. Leslie, conductor, and received its premiere November 28th, 1996.The performers are encouraged to go crazy: wear showgirl costumes, Elvis costumes, act out scenes on stage, use video and lighting - anything to get a laugh.
Estimated dispatch 7-14 working days
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