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£62.95Aragon 1945-1952 (Dance Suite): IV. Enchanted - Ira Hearshen
The fourth movement of Ira Hearshen's suite of ballroom music is inspired by "Some Enchanted Evening," the most popular song by Rodgers and Hammerstein, which they wrote for the musical "South Pacific." It was recorded by many artists, most notably (during the Aragon era) Ezio Pinza, Perry Como, Frank Sinatra, Bing Crosby, Al Jolson, Jo Stafford, and Eddie Calvert.
Estimated dispatch 3-5 working days
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£45.95Brain Dance - Vince Gassi
Four notes and a few simple rhythms. Follow that with three notes and some cool harmony. Add a pinch of fun for percussionists. That's all it'll take for your young musicians and their brains will be moving rhythmically to the music the whole way through.
Estimated dispatch 3-5 working days
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£53.95Slavonic Dance No. 1 - Antonín Dvorák / arr. Michael Story
From the Czech composer Antonn Dvork. Originally composed in 1886 for four-hand piano, this beginning band transcription/reduction develops the charismatic melody and offers opportunity to explore the varied timbres in beginning band in a sure-fire solid setting. Providing a stunning opportunity to introduce or reinforce three-quarter time, the arrangement is a charming choice for concert and contest alike. (2:15) This title is available in MakeMusic Cloud.
Estimated dispatch 3-5 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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£113.30
Rumanian Folk Dances - Béla Bartók
Bla Bartk (1888 - 1945) showed from the beginning of his career an interest in popular music. He began studying music at the age of five and eventually focused on composition and piano. He collected a lot of popular songs, especially during his studies in Hungary, but also music from Romania and Slovakia. This had a lot of influence on his style. In his compositions, Bartk uses many Hungarian popular themes and rhythms, and even his own original works always refer to the same rhythmic and melodic folk character. At the beginning of the twentieth century, Bartk detached himself from romanticism and began to delineate his style on harmonic procedures based on diminished and augmented intervals, on bitonality, and on marked percussiveness, characteristics that are at the core of popular music.The Romanian Dances are a collection of seven folk dances, originally composed for piano (1915, the first six) and then transcribed for a small symphonic orchestra (1917). Of purely modal language, like almost all Bartk's music, each dance comes from a different area of Romania (Stick Dance, Sash Dance, In One Spot, Horn Dance, Romanian Polka, Fast Dance of Belnyes, and Fast Dance of Nygra).
Estimated dispatch 7-14 working days
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£67.99Dances Fantastique - David Shaffer
This exciting work for concert band is a set of three delightful dances. Opening with a bold fanfare statement, the first dance reveals the melodic material that is the basis for all three movements. The title of this movement, Double Dance, is derived from the second statement of the melody, appearing in doubled rhythmic values. The second movement, Round Dance, the melody is written as a three part round. You could not have a Round Dance without a Square Dance, which is the title of final movement. Lots of fun percussion instruments add interesting timbres throughout. This interesting and clever composition is perfect for contest and festival.
Estimated dispatch 7-14 working days
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£115.00BOHEMIAN DANCES (Concert Band) - Woolfenden, Guy
Includes:1. Shepherds and Shepherdesses2. Florizel and Perdita3. Dance of the SatyrsOne of my favourite Shakespeare plays is The Winter's Tale, and I have written music for three completely different productions during my time as Head of Music to the Royal Shakespeare Company. One, starring Judi Dench as both the mother, Hermione and her daughter, Perdita, had a big band Tribal Love-Rock score; another had a more classical, but timeless feel to it, and the last was an excellent small-scale touring production, for which I was allowed only a handful of instruments. It is from this source that the basic themes for Bohemian Dances, and an earlier version Three Dances for Clarinet Choir, have emerged. Act IV of the play is set in the kingdom of Bohemia - hence the title of the work.Shakespeare calls for "A Dance of Shepherds and Shepherdesses", which gives Florizel, the son of Polixenes, (King of Bohemia) a chance to become better acquainted with the beautiful Perdita, the lost daughter of Leontes, (King of Sicilia). This movement is written in seemingly tricky and ever-changing metres, but is rhythmically quite logical and melodically catchy.The slower second movement 'Florizel and Perdita' is the lovers' pas de deux: a gentle, slow waltz-like tune, initially presented by the principal oboe, is contrasted with a lndler-like double time melody, at the end of which a solo clarinet makes a link to the last movement.'Dance of the Satyrs' is a rip-roaring, foot-stamping dance performed in the play by 'three carters, three shepherds, three neat-herds, and three swine-herds', who enter in outrageous costumes representing the lecherous half-man, half-goat of Greek mythology. This dance is referred to as a "gallimaufry of gambols" - now where have I heard that word before?! - GW
Estimated dispatch 7-14 working days
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£53.46Dances Fantastique
This exciting new work for concert band is a set of three delightful dances. Opening with a bold fanfare statement, the first dance reveals the melodic material that is the basis for all three movements. The title of this movement, Double Dance, is derived from the second statement of the melody, appearing in doubled rhythmic values. The second movement, Round Dance, the melody is written as a three part round. You could not have a Round Dance without a Square Dance, which is the title of final movement. Lots of fun percussion instruments add interesting timbres throughout. This interesting and clever composition is perfect for contest and festival.
Estimated dispatch 7-14 working days
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£88.00
Tancuj
Tancuj, Tancuj, Vykrcaj / Dance, Dance, Spin Around / Tanz, Tanz, Dreh Dich / Dance, Dance, Tourne, Tourne
Estimated dispatch 10-14 working days
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£159.00Greek Folk Song Suite No. 2 - Franco Cesarini
After the great success of the Greek Folk Song Suite that has lasted for over twenty years, Franco Cesarini once again ventures into the long and rich tradition of Greek folk music. In his Greek Folk Song Suite No. 2, the three movements that form the piece are named after the three dances reworked by the composer.The first movement, Samiotissa is a kalamatianos, whose most distinctive feature is the irregular 7/8-time signature. It is a festive dance, today considered the Greek national dance, which has roots dating back to antiquity.The second movement, Kato sto jalo is a zeibekiko, a slow-paced dance performed by only one man at a time which was apparently originated among the warriors of Ancient Anatolia.The third and last movement, Chasaposerviko, is the fast part of the hasapiko dance and is characterized by its more extensive form.A new journey into the Greek folk tradition that will delight both performers and audience.
Estimated dispatch 7-14 working days
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