Results
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£87.50As a Wind from the North (Concert Band - Score and Parts) - Sheldon, Robert
As a Wind from the North was inspired by the writings of Byron Reece and commissioned by the Northwinds Symphonic Band of Gainesville, Georgia (Ronald J. Evans, Conductor), and was premiered at the Georgia Music Educators All-State Conference in Savannah. The piece is a fantasy based on the hymn "King of Glory" by David Charles Walker. Duration: 8.30
Estimated dispatch 7-14 working days
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£72.99Earth, Wind and Fire in Concert (Concert Band - Score and Parts) - Saucedo, Richard L.
This dynamic act recorded some of the most memorable and tuneful songs ever to hit the pop charts. Three of their biggest hits are combined into this concert medley for band: September; After the Love has Gone; Fantasy. Optional parts for guitar, keyboard, bass, and drum set are included to give a true EW&F sound.
Estimated dispatch 7-14 working days
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£59.95Songs of the North (Concert Band - Score and Parts) - Johnson, Stuart
Top educational composer Johnson, Stuart weaves folk songs from the Northeast of England (often sung by working men) into an imaginative fantasy.
Estimated dispatch 7-14 working days
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£11.95
Songs of the North (Concert Band - Score Only) - Johnson, Stuart
Top educational composer Johnson, Stuart weaves folk songs from the Northeast of England (often sung by working men) into an imaginative fantasy.
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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£91.99Turquoise Daydreams (Xylophone Solo with Concert Band - Score and Parts) - Hosay, James L.
Caribbean Fantasy for Xylophone Solo and BandDuration: 4.45
Estimated dispatch 7-14 working days
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£84.95Carnival Of The Animals (Concert Suite From) (Concert Band - Score and Parts) - Brand, Geoffrey
Saint-Saens wrote his Grand Zoological Fantasy - "The Carnival of the Animals" - in 1186. It was first performed at a Shrove Tuesday concert in that year with the composer as one of the performers. Subsequently, Saint-Saens allowed it to be performed only on a few occasions and under special conditions. Later he forbade it to be performed at all, but this restriction was lifted under a special provision in his will.
Estimated dispatch 7-14 working days
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£16.95
Carnival Of The Animals (Concert Suite From) (Concert Band - Score Only) - Brand, Geoffrey
Saint-Saens wrote his Grand Zoological Fantasy - "The Carnival of the Animals" - in 1186. It was first performed at a Shrove Tuesday concert in that year with the composer as one of the performers. Subsequently, Saint-Saens allowed it to be performed only on a few occasions and under special conditions. Later he forbade it to be performed at all, but this restriction was lifted under a special provision in his will.
Estimated dispatch 7-14 working days
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£2.25From Sea to Shining Sea (SATB Choral Octavo) - Bates & Ward - Whitney, Maurice C.
A Fantasy Based on America the Beautiful
Estimated dispatch 7-14 working days
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