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£41.58Epic Battle 3000 (Concert Band - Score and Parts)
Give your youngest musicians a challenge with this dramatic concert work that is sure to grab their attention. The students will imagine great futuristic battles in the year of 3000, all the while they are improving their basic skills that are so important in the development of young band students. Your audience is sure to be impressed by the strong themes and powerful harmonies that make your youngest students sound great!
Estimated delivery 7-14 working days
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£90.00
The Battle of Shiloh - Barnhouse, C. L. - Paynter, John P.
A tribute to C.L. Barnhouse senior. The long-awaited revival of one of the truly great early publications in the Barnhouse catalog. A real gem!
Estimated delivery 7-14 working days
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£19.95A Battle Scene (Concert Band - Score and Parts) - Bashford, Rodney
This set is March Card Sized
Estimated delivery 7-14 working days
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£69.60
BATTLE SUITE - Scheidt Samuel - Brown Wesley
Estimated delivery 7-10 working days
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£44.60
BATTLE SUITE (Partitur/Score) - Scheidt Samuel - Brown Wesley
Estimated delivery 7-10 working days
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£52.00Battle Quest - Mike Forbes
Estimated delivery 12-14 days
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£95.00The Last Battle - By Ralph Ford
A bit dark and mysterious, but engaging for your students to rehearse. The initial musical indication is "with fury" beginning with a bold fanfare section. Then, splashes of sound and vivid textures are presented throughout. A dynamic addition to your concert or contest program. (3:03)
Estimated delivery 3-5 days
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£50.50Battle Creek March - By Michael Story
After a quiet and subdued opening, layered sonorities build a flow to a forceful, tutti conclusion. There are no surprises and the degree of difficulty is a secure grade 1. This march will serve as a fresh opener for your next concert or contest appearance. (1:45)
Estimated delivery 3-5 days
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£134.30
Wellingtons Sieg - Ludwig van Beethoven
After the 'Battle of Vitoria', Beethoven's friend Johann Nepomuk Maelzel talked him into writing a composition for his panharmonicon (a kind of 'mechanical orchestra') to commemorating this battle. The piece, 'Wellingtons Sieg' ('Wellington's Victory') was dedicated to the Prince Regent, later King George IV and first performed in Vienna on 8 December 1813 at a concert to benefit Austrian and Bavarian soldiers wounded at the 'Battle of Hanau', with Beethoven conducting. It was an immediate crowd-pleaser and met with much enthusiasm from early concertgoers and the piece proved to be a substantial money-maker for Beethoven. 'Wellingtons Sieg' is something of a musical novelty. Besides the orchestra, on stage there are two 'sides', British and French, both playing the same instruments: Trumpets, Snare Drums, 'Canon' and Ratchet. The work has two parts: the 'Battle' ('Schlacht') and the 'Victory Symphony' (Sieges Sinfonie). The first part is programme music describing two approaching opposing armies and contains extended passages depicting scenes of battle. It uses 'Rule Britannia' for the British side and 'Marlbrough s'en va-t-en guerre' for the French side. The 'Victory Symphony' exhibits some typical Beethoven composing techniques. It can be considered as a sonata form that, stripped of the development section, comes equipped with an extended coda. Dutch arranger Andreas van Zoelen transcribed 'Wellingtons Sieg' for Symphonic Band.
Estimated delivery 7-14 working days
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£184.99
Rubicon - Bert Appermont
The Rubicon is a river in Northern Italy which Julius Caesar crossed with his army in 49 BC in defiance of the leaders of Rome, who feared his power. A civil war against rival Pompey ensued, which culminated in Caesar seizing power as the absoluteruler of Rome. The phrase "crossing the Rubicon" therefore refers to any person committing himself irrevocably to a risky, decisive and irrevocable of course of action.The work consists of three parts that deal with this important moment in history.Part 1 (Meditation) symbolises Caesars request to the Gods to assist him in his difficult choice. In a slow introduction we hear the melancholy and beseeching sounds of the duduk (alternatively, this part can be played by a soprano saxophone)and of the soprano solo singer over the bourdon accompaniment. The soprano solo singer then sings "dona tibi pacem" (give him rest) in a melodious and probing theme.In Part 2 (Battle of Pharsalus) trumpets and trombones resound alternately ina stately Roman fanfare, producing a stereophonic effect. This develops into a martial theme in which Caesars impressive army goes to battle against the army of rival Pompey. While the theme of Caesars army fades away, Pompeys theme emerges as anaive dance in six-eight time. His army is definitely in the majority and it believes it can easily defeat the enemy. Suddenly trumpets and trombones clash on two sides of the orchestra: Caesars army advances and attacks. A fierce battle ensues inwhich the two themes are played alternately as well as simultaneously. Thanks to his shrewd battle tactics, Caesar manages to win this legendary battle after all: his theme resounds ever louder in trumpets and horns until everything dies out andchanges into a kind of reconciliation between the soldiers of the two armies. The melancholy "dona tibi pacem" from part 1 now serves as a reconciliation theme.Caesar is now the sole ruler of the New Roman Empire, which would be destined to leave itsmark on our Western civilisation to this day. The third part is a sparkling succession of dance music (Dance) with many Greek and Roman elements in which Caesars victory is praised and celebrated. It is common knowledge that the culture(arts, gods, etc.) of the Romans drew heavily on Greek culture. I have therefore used an authentic Greek theme (the Seikolos song) several times in this part (bar 17 in the euphonium, bar 60 in the base section, bar 68 in the sopranosaxophone) to suggest the music of that era and to evoke the right atmosphere. After a gradual increase in tempo in the entire orchestra, the opening melody gloriously resounds once more, surrounded by virtuoso dance music. The work ends withbombastic brass fanfares in which Caesars theme triumphs once more.NOTE FOR THE CONDUCTOR:The Armenian duduk and the monochord that are used in the introduction give a special tone to the music, but could be substituted (soprano saxophone instead ofthe duduk) or left out (monochord). The soprano solo is also doubled within the orchestra and could therefore also be left out if necessary, although it does provide the work with an extra dimension. The male voices in the introduction and the finalecould possibly be replaced with a synthesizer with choral setting.As a visual and acoustic element in part 2, the trumpets, the e-flat cornet, the small drum and trombones can be stood up and placed at two sides of the orchestra (bar 80).Seen fromthe point of view of the conductor, put the trumpets, the e-flat cornet and the small drum in the left section and the trombones in the right section of the orchestra. This also helps to create a visual contrast between the two themes of the secondpart. The players can be seated again at bar 97 or bar 121. The soprano soloist can be placed in or in front of the orchestra, depending on what gives the best result. For the conclusion of the work the soprano solo can be sung from afar (from thewings) to create additional atmosphere.This work was composed especially for the "St Joseph" brass band from Pey/Echt (Belgium) with conductor Mark Prils.
Estimated delivery 7-14 working days
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