Results
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£67.95Rock 'N Roll Attitude - Amy Webb
A power rock song that will be a ball to play while the students are becoming better musicians. It is easy to play. Clarinets do not cross the break, and the first trumpet's highest note is B-flat.
Estimated dispatch 7-14 working days
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£67.95On The Wings Of Butterflies - Amy Webb
Perfect for your first concert. Easy and beautiful. It is a great song for teaching balance and dynamics. Rhythmically there are only whole, half and quarter notes. Clarinets do not cross the break, and the first trumpet's highest note is C.
Estimated dispatch 7-14 working days
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£78.95And Hearts Shall Weep - Amy Webb
This is the song your audience will be talking about after the concert. It is an easy piece with beautiful harmonies and melodies. It is slow and not complicated. 1st trumpet's highest note is E. 3rd clarinets do not cross the break.
Estimated dispatch 7-14 working days
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£74.95Celebration Of A New Day - Amy Webb
Here's an upbeat piece that evokes a sense of positivity and hope. It is a bit majestic and joyful all at the same time. It is an easy piece, and it is a great composition to introduce dotted rhythms. Only the 1st clarinet crosses the break, and the 1st trumpet's highest note is D.
Estimated dispatch 7-14 working days
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£68.80Olsenbanden - Bent Fabricius-Bjerre
The main theme from "The Olsen Gang" is probably the most famous one from danish composer Bent Fabricius-Bjerre. It was used in both the danish and norwegian version of the movies. This flexible, easy arrangement by Scott Rogers is intended to be played by beginners.
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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£168.50Psalm for Band - Vincent Persichetti
Psalm for Band is a piece constructed from a single germinating harmonic idea. There are three distinct sections - a sustained chordal mood, a forward moving chorale, followed by a Paean culmination of the materials. Extensive use is made of separate choirs of instruments supported by thematic rhythms in the tenor and bass drums. Psalm was selected for performance at the CBDNA Convention in December 1952 as one of the eight most outstanding compositions for band written in the previous several years. Theodore Presser Company editor Daniel Dorff, on the new Centennial Edition, explains, "The 1954 Elkan-Vogel publication had a full score in a calligrapher's hand that was quiteaccurate, and a set of parts that was problematic in readability and accuracy. The present 2015 edition is faithful to and compatible with the original published score, with carefully and cleanly prepared parts bearing cues, easy page turns, and individual parts for each player."
Estimated dispatch 7-14 working days
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£104.50Commemoration Fanfare and Chorale - Claude T. Smith
Stirring fanfares, beautiful chorales and idiomatic woodwind and brass lines are hallmarks of this well written and richly scored work. This is an exciting composition which is surprisingly easy to prepare while being extremely effective. (3 minutes 30 seconds)
Estimated dispatch 7-14 working days
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£82.50Gramercy Park - Nancy H. Seward
Designed for the school band with limited technical ability and/or instrumentation. The lively rhythmic melody is set to harmonic backgrounds that are easy for the player to relate to. Percussion parts are interesting and logical, as are parts for the 2nd and 3rd players of brass and woodwinds.
Estimated dispatch 7-14 working days
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£71.50Gypsydance - David Holsinger
The folkdance qualities of this piece will make it enjoyable for both players and audiences alike, and will give your young students the chance to experience some of Holsingers style at an easy level.
Estimated dispatch 7-14 working days
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