Results
-
£84.99Trumpet Fiesta (Concert Band - Score and Parts)
Trumpet Fiesta spotlights four trumpet soloists. From the opening bars the music expresses a feeling of happiness. This swift and lively piece begins with a series of dynamic staccato passages from the soloists. The central section, in the minor key, contrasts with the beginning of the work and during this transition period there are only two solo trumpet parts. The first theme then quickly reappears before moving on to a peaceful and more melodic trio in which long and flowing melody lines allow the soloists to let the beautiful sound of the trumpet fully reveal itself. The sound pyramid then formed by the whole band leads this spectacular piece to a powerful finale. 03:12
Estimated dispatch 7-14 working days
-
£84.99
Vienna Festival Music (Concert Band - Score and Parts)
Vienna Festival Music is an opening piece composed in the same style and sound that composer Otto M. Schwarz uses for his great dramatic historical concert works such as Nostradamus, Man in the Ice and The Count of Monte Cristo. This piece features a drum set and an electric bass, creating a kind of crossover sound by combining film music with pop music. For this composition, Otto M. Schwarz received the prestigious Scholarship of the Wiener Symphoniker (Vienna Symphony Orchestra). 03:00
Estimated dispatch 7-14 working days
-
£60.00We Gather Together (Flexible Ensemble - Score and Parts) - Kremser, Eduard - Stanton, Scott
The famous Dutch hymn "We Gather Together" is scored for small bands with limited instrumentation, but will sound great with bands of all sizes! Dedicated to the Frontline Responders and Essential Workers who keep us safe, this is the perfect "welcome back" piece for both the band and your returning audience. With "Build-A-Band scoring, you get to create unique sounds using the strengths of your instrumentation, and by following the suggested flexible interplay between sections. This beautiful arrangement includes optional vocal parts for performers and/or audience. Piano, bass, guitar and percussion can strengthen your sound as well. Flexible works wonders, and it's perfect for distance learning situations! Duration: 3.30
Estimated dispatch 7-14 working days
-
£67.0080s Soundtrax (Concert Band - Score and Parts) - Roszell, Patrick
Big hair and big hits, the '80s had a sound of its own. '80s Soundtrax presents three big hits from the decade: Nothing's Gonna Stop Us Now; Words Get in the Way; If I Could Turn Back Time. Put on your whitewashed jeans and grab your walkman for a stroll down memory lane! Featuring the works of Starship, Gloria Estefan with the Miami Sound Machine, and Cher. Duration: 4:30
Estimated dispatch 7-14 working days
-
£51.48
Tailspin!
Inspired by a memorable commuter jet trip taken by the composer, "Tailspin!" is an aggressive and hard hitting composition capturing the peril of an airliner in rapid descent. Contemporary harmonies and driving rhythms contribute to the unique and fresh sound of this work. Varied dynamics and textures add to the drama and make this the perfect concert or festival work for young bands. Creative and skillful scoring makes this sound much harder than it actually is. "Tailspin!" Has the excitement and power that students love!
Estimated dispatch 7-14 working days
-
£41.58
Nighthawk (Concert Band - Score and Parts)
A slow, dark, and mysterious theme serves as a prelude to a new section that explodes with rhythmic energy. Instruments scored where they sound their best, layered themes, interesting harmonies, and a variety of percussion parts all combine to create an exciting musical journey from start to finish. The crafting of this piece will help make your students sound advanced for their age. Very Impressive!
Estimated dispatch 7-14 working days
-
£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
-
£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
-
£144.99Serenata (Euphonium Solo with Concert Band - Score and Parts) - Van der Roost, Jan
While composing Serenata, Jan Van der Roost didn't focus too much on virtuosity, acrobatics or spectacle. Instead, he wanted to let the solo instrument shine as a melodic and expressive voice. And indeed: the warm sound of the euphonium touches the heart of the audience straight away in the first section with a melodious theme. Then follows a rigaudon, a noble and elegant dance from the Renaissance era. Despite the fact that some of the variations on the main theme require some technique and agility, the overall character mostly remains songful. The composition as a whole builds further on these two musical ingredients, but thanks to a clever alternation of melodic and technical passages, it offers a nice stylistic diversity to the listeners. The band is definitely not 'just accompanying' but fully participates and begins a dialogue with the soloist: both musical partners have their say. The end is more spectacular and sonorous, giving an extra boost of energy to the soloist as well as the band in a grand finale!Duration: 12.00
Estimated dispatch 7-14 working days
-
£100.80Bleak Forest (Concert Band - Score and Parts) - Ziegelback, Andreas
Bleak Forest is a piece for smaller concert bands and offers the musicians above all space to improve their sound and their effect playing. The technical requirements are therefore deliberately kept low. With this piece, the composer won the VLAMO International Composition Contest 2022.Thematically, the work is influenced by the composer's childhood memories. In his hometown there was a dark and mysterious forest, that seemed to the children in the small village to be magical. Without a reasonable explanation, every trip into the woods was exciting and somewhat terrifying. There were tales of dangerous animals, which can be heard at the beginning of the piece, as well as magical beasts. The magic of the forest is depicted musically from bar 70 in the andante section. The snapping of the fingers represents single raindrops. From bar 99 onwards, we hear the trek home, with the occasional moments of trepidation as the children spook each other with their fanciful tales. In the end, though, we arrive safely at home because after all, magical beasts only exist in fairy tales... don't they?Andreas Ziegelback studied music education at the Mozarteum University in Salzburg, and history at the Paris Lodron Universitat, Salzburg. In addition to his studies, he trained in ensemble conducting for wind orchestra with conductor and composer Thomas Doss. It was Doss who sparked Ziegelback's interest in composing. In 2021, Andreas Ziegelback completed his composition studies with Johannes Maria Staud. In 2020, he took part in a brass band composition masterclass in Bern with Oliver Waespi, followed by a premiere by the Swiss Army Brass Band.Duration: 6.00
Estimated dispatch 7-14 working days
View Music