Results
-
£174.10Black Orpheus - Antonino Maria
"Black Orpheus" appeared as principal theme in the Portuguese-language movie "Orfeu Negro" in 1959. The song appears in various versions throughout the movie. It was the first bossa nova composition to achieve great popularity outside Brazil. It became very popular in the US in particular. Today it is regarded as a jazz standard.This arrangement is a nice solo for sopranosax, altosax or flugelhorn in Latin style. After a groovy slow start, the arrangement changes into a more up tempo samba-like style to the end.
Estimated dispatch 7-14 working days
-
£69.95
Keep Me Praising - Score and Parts - Andrew Mackereth
Program NotesBased on the song melodies "Give Me Joy in My Heart, Keep Me Praising" and "Praise, My Soul the King of Heaven," the music is largely light-hearted in nature with some florid semi-quaver work overlaying the melodic lines and some interesting interplay between the two selected tunes. We believe that it will have wide appeal both to players and listeners.Andrew Mackareth originally wrote this piece for The Salvation Army's Symphonic Wind Ensemble, but it was first published in a rescored version for brass band. We are please to be able to release it in its original form in this collection of wind band music.
Estimated dispatch 7-14 working days
-
£13.95
Keep Me Praising - Score only - Andrew Mackereth
Program NotesBased on the song melodies "Give Me Joy in My Heart, Keep Me Praising" and "Praise, My Soul the King of Heaven," the music is largely light-hearted in nature with some florid semi-quaver work overlaying the melodic lines and some interesting interplay between the two selected tunes. We believe that it will have wide appeal both to players and listeners.Andrew Mackareth originally wrote this piece for The Salvation Army's Symphonic Wind Ensemble, but it was first published in a rescored version for brass band. We are please to be able to release it in its original form in this collection of wind band music.
Estimated dispatch 7-14 working days
-
£29.95
Shenandoah - Score and Parts - Leonard Ballantine
Program NotesCanadian Salvation Army officer Leonard Ballantine is a gifted and talented musician with a wonderful talent for composing and arranging for both instrumental and vocal ensembles.Among the many compositions he has written is this beautiful arrangement of the American folk song Shenandoah. It was originally conceived as a brass band arrangement and published in 1998. It has also appeared as a vocal setting, but has now been faithfully transcribed for wind band by Brian Bowen and we are all sure that this will prove to be a popular addition to the repertoire.
Estimated dispatch 7-14 working days
-
£5.95
Shenandoah - Score only - Leonard Ballantine
Program NotesCanadian Salvation Army officer Leonard Ballantine is a gifted and talented musician with a wonderful talent for composing and arranging for both instrumental and vocal ensembles.Among the many compositions he has written is this beautiful arrangement of the American folk song Shenandoah. It was originally conceived as a brass band arrangement and published in 1998. It has also appeared as a vocal setting, but has now been faithfully transcribed for wind band by Brian Bowen and we are all sure that this will prove to be a popular addition to the repertoire.
Estimated dispatch 7-14 working days
-
£120.00
MonsterThrash (CB) - Paul Saggers
Prepare for the fright of a lifetime as MonsterThrash takes you to the murky depths of the ocean where all sorts of unsavoury creatures lurk, waiting to devour you! From Ancient Greek mythology, Hydra a Serpentine creature with many heads guards the underworld. You can try and chop its head off but two will grow back! Be sure to escape this first monster quickly as its poisonous breath and blood will kill you instantly! Next up to thrash you are the wickedly enchanting sirens, who aim to seduce you with their looks and mesmerising singing, but will carve you up for their dinner! If you've made it this far... be prepared to face your final threat, The Leviathan! Often described as an Dragon dwelling in the watery abyss. Enormous in size, the Leviathan is said to represent the forces of chaos. When the Leviathan is hungry he sends forth from his mouth a heat so great it makes the water of the deep boil. Only the bravest of sailors can withstand these wicked beasts, if your not up to the MonsterThrash, be prepared to spend the rest of your days in the depths of Davy Jones' Locker!
Estimated dispatch 7-14 working days
-
£41.00Shenandoah - Larry McKenna
Here is a different sound for the traditional American folksong. Larry McKenna, a great jazz musician, wrote this work with jazz harmonies in jazz ballad style. It is easy to play and Larry knows how to make great voice leadings so it is easy to go from one note to another. 1st clarinets cross the break. 1st trumpet's highest note is C#.
Estimated dispatch 12-14 working days
-
£43.00Dawn Dance
This light and airy piece by Kevin Mixon is written in in 3/4 time, giving it a fresh and beautiful feel. A welcome change of pace in a concert program, this selection will push the musicianship of your developing players. It is also worth programming as a second piece after a march at a contest or festival performance.
Estimated dispatch 12-14 working days
-
£123.203 Letzte Motetten (Concert Band - Score and Parts) - Bruckner, Anton - Doss, Thomas
Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn't have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the "modernity" of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new.Duration: 14.00
Estimated dispatch 7-14 working days
-
£256.0014 Motetten (Concert Band - Score and Parts) - Bruckner, Anton - Doss, Thomas
Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn't have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the modernity of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new.Duration: 39.00
Estimated dispatch 7-14 working days
View Music