Results
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£56.00Changing Gears
Changing Gears is a high-energy, crowd-pleasing concert band work that explores shifting time signatures and contrasting rhythmic feels. Lively 3/4 hemiola-based phrasing gives way to a punchy, syncopated 4/4 groove before the music quickly shifts back, or "changes gears," driving toward a thrilling conclusion. Packed with momentum and bold contrasts, the piece is an exciting showcase for ensemble precision, groove, and energy.
Estimated dispatch 12-14 working days
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£67.00Bounding Joy
Bounding Joy captures the excitement, energy, and joy of awkward first steps, inspired by home videos from the composer's childhood. Written in an energetic 7/8 meter, the piece constantly shifts through changing keys and styles, reflecting curiosity and momentum. An active percussion section drives the motion throughout, adding sparkle and playful intensity to the music.
Estimated dispatch 12-14 working days
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£65.00
RPM - Matthew Hindson
RPM stands for Revolutions per Minute. This piece seeks to capture the feeling of unrelenting speed, acceleration and momentum. The composer was influenced by heavy metal music, and describes the overall effect as similar to that of driving in a car at a very high speed.
In stock: Estimated delivery 1-3 days
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ISS Flyover - Peter Meechan
I.S.S Flyover was written in August 2012, when the International Space Station (I.S.S.) was visible in the sky over my home town of Manchester, UK. This is not an uncommon occurrence (www.heavens-above.com is a useful tool to help you find when the orbit of the I.S.S. passes over), but what was unique about this particular pass was that there would be astronauts carrying out repair work on the outside of the station.The idea that something that seemed to pass so quick in the skies above us juxtaposed with what must have seemed a slow, dangerous journey for the astronaut is what lead me to write this piece.The opening passage is a fast, ostinato driven section; the speed and energy that the I.S.S is perceived from earth. The middle section is desolate and sparse; the astronauts looking down on earth as they slowly orbit around the globe, the loneliness of space. The final section is a return to the original material - this time with even more momentum and drive, provided by the percussion.I.S.S. Flyover was commissioned by a Canadian consortium of: the University of Saskatchewan, Brandon University, the University of Calgary, Harmonie Laval, Memorial University of Newfoundland, the University of Prince Edward Island, the University of Toronto and Anthony Reimer, Calgary, Alberta. The work is dedicated to Darrin Oehlerking who organised the commission consortium.
Estimated dispatch 5-14 working days
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Shine - Peter Meechan
Shine is my second large scale work for solo tuba, following on from my concerto Episodes and Echoes. Like the concerto, Shine was commissioned and premiered (with the Grimethorpe Band, conducted by Howard Evans) by Les Neish - the title being an anagram of the soloist surname.Although in one movement, Shine has 3 broad sections, each requiring virtuosic skill and dexterity from the soloist. The opening section features lots of bright, metallic sounds - especially in the percussion section - providing the accompaniment to soloist as they demonstrate the range and flexibility of the tuba.The second section gives the soloist the opportunity to demonstrate the considerable lyricism that the tuba is capable of. The solo line weaves in and out of textures in the accompaniment, exchanging snippets of melody with other players in the ensemble.After a short unaccompanied passage, the final section emerges juxtaposing new solo lines and material from the opening section. This builds in momentum - and difficulty for the soloist - as the piece reaches its climatic ending.Shine is dedicated to my good friend, fellow Liverpool supporter, and amazing musician, Les Neish.Peter Meechan, 2011
Estimated dispatch 5-14 working days
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£256.99The Unknown Journey (Concert Band - Score and Parts) - Sparke, Philip
The Unknown Journey was commissioned by Kwansei Gakuin University Symphony Band which was established in 1954 and has grown to become one of the top college bands in Japan. The composer chose the title as the piece seemed to create its own momentum as it developed, starting slowly and continuously increasing the tempo. Towards the end it gradually transmogrifies into the closing bars of Ravel's La Valse, a piece which perfectly characterises the idea of unstoppable momentum. The Unknown Journey was commissioned by Kwansei Gakuin University Symphony Band which was established in 1954 and has grown to become one of the top college bands in Japan. The composer chose the title as the piece seemed to create its own momentum as it developed, starting slowly and continuously increasing the tempo. Towards the end it gradually transmogrifies into the closing bars of Ravel's La Valse, a piece which perfectly characterises the idea of unstoppable momentum.Duration: 11:30
Estimated dispatch 7-14 working days
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£79.95Variations on 'Was Lebet' (Concert Band - Score and Parts) - Wainwright, Andrew
Variations on 'Was Lebet' is based on the German chorale of the same name, the first line of which translates as 'O worship the Lord in the beauty of holiness!' The opening fanfare figure in the Trumpets should be supported by bold, organ-like sostenuto chords in the lower band. Ensure that the fanfare in the Trumpets and Trombones from bars 25 to 28 is given equal articulation and volume in the antiphonal parts. After this majestic introductory section, the first of five contrasting variations is presented, although the tune is never realised in full form until the final variation, with fragments gradually being revealed as the piece progresses.Variation I is somewhat classical in approach, with its energy coming from a regular contrast between cantabile references to the theme, set against lively staccato figures. Ensuring a lightness of touch will be important here; the music should be poised and never sound frantic. As a result, careful attention should be paid to the tempo marking, being no quicker than 136 beats per minute. Snippets of the chorale come and go, with the last phrase of the hymn completing the movement. This final statement, at bar 95, should be an immediate change in tempo and a separate statement to the music that comes before.Variation II is plaintive in mood, giving the listener the chance to reflect on the following words, which form part of the second verse: 'Comfort thy sorrows and answer thy prayerfulness, Guiding thy steps as may best for thee be.' There is opportunity for rubato in this movement, at the discretion of the conductor.Variation III is somewhat quirky and volatile in nature, and takes its inspiration from the 3rd and 4th verses which describe the fearful times in life that we must entrust to the Lord. Driven by the Percussion section in particular, there are references here to Variation I with its chorale-like figures and hurtling scalic figures, and there is a feeling of a lack of resolution. A somewhat abrupt ending suggests that our sense of completeness in Christ is yet to be resolved. It is important that clarity and tempo are maintained in the bass line between sections L and M. Aim for consistency of line in the bass parts, particularly with the trade-offs between players here.There is a French romantic feel to the waltz in Variation IV, with the opportunity for various soloists to display their musicianship. A sense of ironic humour pervades throughout. The Clarinet and Bassoon duet from section U should be playful and display a lightness of touch, with that sense of style continued throughout the movement.Variation V is fugal in nature, with each section of the band being handed the theme at various points. Again it is important that a steady tempo is set at Y in order to maintain control. The sense of momentum gradually increases to a grandiose presentation of the full theme, beginning at section CC, affirming our completeness in the Lord, with the words of the first and last verses reiterated: O worship the Lord in the beauty of holiness! Bow down before him, his glory proclaim; With gold of obedience and incense of lowliness, Kneel and adore him, the Lord is his name.Duration: 11.45
Estimated dispatch 7-14 working days
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£15.95Variations on 'Was Lebet' (Concert Band - Score only) - Wainwright, Andrew
Variations on 'Was Lebet' is based on the German chorale of the same name, the first line of which translates as 'O worship the Lord in the beauty of holiness!' The opening fanfare figure in the Trumpets should be supported by bold, organ-like sostenuto chords in the lower band. Ensure that the fanfare in the Trumpets and Trombones from bars 25 to 28 is given equal articulation and volume in the antiphonal parts. After this majestic introductory section, the first of five contrasting variations is presented, although the tune is never realised in full form until the final variation, with fragments gradually being revealed as the piece progresses.Variation I is somewhat classical in approach, with its energy coming from a regular contrast between cantabile references to the theme, set against lively staccato figures. Ensuring a lightness of touch will be important here; the music should be poised and never sound frantic. As a result, careful attention should be paid to the tempo marking, being no quicker than 136 beats per minute. Snippets of the chorale come and go, with the last phrase of the hymn completing the movement. This final statement, at bar 95, should be an immediate change in tempo and a separate statement to the music that comes before.Variation II is plaintive in mood, giving the listener the chance to reflect on the following words, which form part of the second verse: 'Comfort thy sorrows and answer thy prayerfulness, Guiding thy steps as may best for thee be.' There is opportunity for rubato in this movement, at the discretion of the conductor.Variation III is somewhat quirky and volatile in nature, and takes its inspiration from the 3rd and 4th verses which describe the fearful times in life that we must entrust to the Lord. Driven by the Percussion section in particular, there are references here to Variation I with its chorale-like figures and hurtling scalic figures, and there is a feeling of a lack of resolution. A somewhat abrupt ending suggests that our sense of completeness in Christ is yet to be resolved. It is important that clarity and tempo are maintained in the bass line between sections L and M. Aim for consistency of line in the bass parts, particularly with the trade-offs between players here.There is a French romantic feel to the waltz in Variation IV, with the opportunity for various soloists to display their musicianship. A sense of ironic humour pervades throughout. The Clarinet and Bassoon duet from section U should be playful and display a lightness of touch, with that sense of style continued throughout the movement.Variation V is fugal in nature, with each section of the band being handed the theme at various points. Again it is important that a steady tempo is set at Y in order to maintain control. The sense of momentum gradually increases to a grandiose presentation of the full theme, beginning at section CC, affirming our completeness in the Lord, with the words of the first and last verses reiterated: O worship the Lord in the beauty of holiness! Bow down before him, his glory proclaim; With gold of obedience and incense of lowliness, Kneel and adore him, the Lord is his name.Duration: 11.45
Estimated dispatch 7-14 working days
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£66.95Leading Light (Concert Band - Score and Parts) - Wilds, Jack
Based on a school's powerful growth in the arts, this piece follows a single melody from a slower, quiet beginning filled with potential into a faster section crackling with energy. The theme steadily builds momentum through each variation until it reaches a joyful outpouring of sound in the final bars.Duration: 3.45
Estimated dispatch 7-14 working days
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£62.95Bandwidth (Concert Band - Score and Parts) - Gassi, Vince
Bandwidth, according to Webster's Dictionary, is the maximum data transfer rate of an electronic communications system. In Bandwidth by Vince Gassi, waves of sound and rhythmic energy (1.21 gigawatts to be exact) are transferred to you and your audiences. Right from the first measure this piece will power on and power you up. Syncopated figures contrast with legato lines while the momentum build throughout. Not too complicated, just fun to play and easy to listen to. Duration: 2.15
Estimated dispatch 7-14 working days
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