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£110.00English Dance Suite - III. Hornpipe (Concert Band - Score and Parts) - Gardner, John - Noble, Paul
Arranged for the modern Concert/Wind Band, scored for three trumpets, reasonable doubling of parts where the original musical effect is not altered so that players can have a more responsible and enjoyable experience, more legible parts with less doubling on one staff, etc. The piece is offered either as a complete suite of seven movements, and also as seven individual movements which may be purchased independently. The English Dance Suite was originally composed by John Gardner for Wind Band, and has been re-set for the modern Concert Band instrumentation. Both the original version, edited and type-set by Paul Noble, and this arrangement are first editions now available for purchase to bands around the world. The set of seven Renaissance dances depict John Gardner's love of Scottish music, the Renaissance heritage, and some of his own mischievous approach to music. The first movement, Chacony on a Golden Theme, reminiscent of the Allegro movement of Purcell's Golden Sonata, is much used as a vehicle for variation on a repeated short harmonic progression, often involving a fairly short repetitive bass-line which offered a compositional outline for variation, decoration, figuration and melodic invention. In this it closely resembles the passacaglia. The Alman originated in the 16th century as a duple metere dance of moderate tempo, already considered very old, with a characteristic double-knocking upbeat of one or occasionally three sixteenth notes. It appears to have derived from a German dance but no identifiable dance and no German dance instructions from this era survive. The Hornpipe, usually in 3/2 dance rhythm, is an Irish, Scottish and English dance. It is done in hard shoes, which are used to help keep track of how the dancer keeps in time. There are two variations of the hornpipe dance: fast and slow. Usually, more experienced dancers will do the slow hornpipe but younger dancers will start out with the fast hornpipe and then switch in later years. The Corranto is a 16th-century court dance characterized by short advances and retreats, in quick triple time. The Volta (Italian: the turn or turning) is an anglicised name from the later Renaissance. Its main figure consisted of a turn and lift in a sort of closed position. The Pavan is a slow processional dance common in Europe during the 16th century. The Reel, indigenous to Scotland, consists largely of quaver (eighth note) movement with an accent on the first and third beats of the bar.
Estimated dispatch 7-14 working days
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£95.00English Dance Suite - IV. Corranto (Concert Band - Score and Parts) - Gardner, John - Noble, Paul
Arranged for the modern Concert/Wind Band, scored for three trumpets, reasonable doubling of parts where the original musical effect is not altered so that players can have a more responsible and enjoyable experience, more legible parts with less doubling on one staff, etc. The piece is offered either as a complete suite of seven movements, and also as seven individual movements which may be purchased independently. The English Dance Suite was originally composed by John Gardner for Wind Band, and has been re-set for the modern Concert Band instrumentation. Both the original version, edited and type-set by Paul Noble, and this arrangement are first editions now available for purchase to bands around the world. The set of seven Renaissance dances depict John Gardner's love of Scottish music, the Renaissance heritage, and some of his own mischievous approach to music. The first movement, Chacony on a Golden Theme, reminiscent of the Allegro movement of Purcell's Golden Sonata, is much used as a vehicle for variation on a repeated short harmonic progression, often involving a fairly short repetitive bass-line which offered a compositional outline for variation, decoration, figuration and melodic invention. In this it closely resembles the passacaglia. The Alman originated in the 16th century as a duple metere dance of moderate tempo, already considered very old, with a characteristic double-knocking upbeat of one or occasionally three sixteenth notes. It appears to have derived from a German dance but no identifiable dance and no German dance instructions from this era survive. The Hornpipe, usually in 3/2 dance rhythm, is an Irish, Scottish and English dance. It is done in hard shoes, which are used to help keep track of how the dancer keeps in time. There are two variations of the hornpipe dance: fast and slow. Usually, more experienced dancers will do the slow hornpipe but younger dancers will start out with the fast hornpipe and then switch in later years. The Corranto is a 16th-century court dance characterized by short advances and retreats, in quick triple time. The Volta (Italian: the turn or turning) is an anglicised name from the later Renaissance. Its main figure consisted of a turn and lift in a sort of closed position. The Pavan is a slow processional dance common in Europe during the 16th century. The Reel, indigenous to Scotland, consists largely of quaver (eighth note) movement with an accent on the first and third beats of the bar.
Estimated dispatch 7-14 working days
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£75.00English Dance Suite - V. Volta (Concert Band - Score and Parts) - Gardner, John - Noble, Paul
Arranged for the modern Concert/Wind Band, scored for three trumpets, reasonable doubling of parts where the original musical effect is not altered so that players can have a more responsible and enjoyable experience, more legible parts with less doubling on one staff, etc. The piece is offered either as a complete suite of seven movements, and also as seven individual movements which may be purchased independently. The English Dance Suite was originally composed by John Gardner for Wind Band, and has been re-set for the modern Concert Band instrumentation. Both the original version, edited and type-set by Paul Noble, and this arrangement are first editions now available for purchase to bands around the world. The set of seven Renaissance dances depict John Gardner's love of Scottish music, the Renaissance heritage, and some of his own mischievous approach to music. The first movement, Chacony on a Golden Theme, reminiscent of the Allegro movement of Purcell's Golden Sonata, is much used as a vehicle for variation on a repeated short harmonic progression, often involving a fairly short repetitive bass-line which offered a compositional outline for variation, decoration, figuration and melodic invention. In this it closely resembles the passacaglia. The Alman originated in the 16th century as a duple metere dance of moderate tempo, already considered very old, with a characteristic double-knocking upbeat of one or occasionally three sixteenth notes. It appears to have derived from a German dance but no identifiable dance and no German dance instructions from this era survive. The Hornpipe, usually in 3/2 dance rhythm, is an Irish, Scottish and English dance. It is done in hard shoes, which are used to help keep track of how the dancer keeps in time. There are two variations of the hornpipe dance: fast and slow. Usually, more experienced dancers will do the slow hornpipe but younger dancers will start out with the fast hornpipe and then switch in later years. The Corranto is a 16th-century court dance characterized by short advances and retreats, in quick triple time. The Volta (Italian: the turn or turning) is an anglicised name from the later Renaissance. Its main figure consisted of a turn and lift in a sort of closed position. The Pavan is a slow processional dance common in Europe during the 16th century. The Reel, indigenous to Scotland, consists largely of quaver (eighth note) movement with an accent on the first and third beats of the bar.
Estimated dispatch 7-14 working days
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£75.00English Dance Suite - VI. Pavan (Concert Band - Score and Parts) - Gardner, John - Noble, Paul
Arranged for the modern Concert/Wind Band, scored for three trumpets, reasonable doubling of parts where the original musical effect is not altered so that players can have a more responsible and enjoyable experience, more legible parts with less doubling on one staff, etc. The piece is offered either as a complete suite of seven movements, and also as seven individual movements which may be purchased independently. The English Dance Suite was originally composed by John Gardner for Wind Band, and has been re-set for the modern Concert Band instrumentation. Both the original version, edited and type-set by Paul Noble, and this arrangement are first editions now available for purchase to bands around the world. The set of seven Renaissance dances depict John Gardner's love of Scottish music, the Renaissance heritage, and some of his own mischievous approach to music. The first movement, Chacony on a Golden Theme, reminiscent of the Allegro movement of Purcell's Golden Sonata, is much used as a vehicle for variation on a repeated short harmonic progression, often involving a fairly short repetitive bass-line which offered a compositional outline for variation, decoration, figuration and melodic invention. In this it closely resembles the passacaglia. The Alman originated in the 16th century as a duple metere dance of moderate tempo, already considered very old, with a characteristic double-knocking upbeat of one or occasionally three sixteenth notes. It appears to have derived from a German dance but no identifiable dance and no German dance instructions from this era survive. The Hornpipe, usually in 3/2 dance rhythm, is an Irish, Scottish and English dance. It is done in hard shoes, which are used to help keep track of how the dancer keeps in time. There are two variations of the hornpipe dance: fast and slow. Usually, more experienced dancers will do the slow hornpipe but younger dancers will start out with the fast hornpipe and then switch in later years. The Corranto is a 16th-century court dance characterized by short advances and retreats, in quick triple time. The Volta (Italian: the turn or turning) is an anglicised name from the later Renaissance. Its main figure consisted of a turn and lift in a sort of closed position. The Pavan is a slow processional dance common in Europe during the 16th century. The Reel, indigenous to Scotland, consists largely of quaver (eighth note) movement with an accent on the first and third beats of the bar.
Estimated dispatch 7-14 working days
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£125.00English Dance Suite - VII. Reel (Concert Band - Score and Parts) - Gardner, John - Noble, Paul
Arranged for the modern Concert/Wind Band, scored for three trumpets, reasonable doubling of parts where the original musical effect is not altered so that players can have a more responsible and enjoyable experience, more legible parts with less doubling on one staff, etc. The piece is offered either as a complete suite of seven movements, and also as seven individual movements which may be purchased independently. The English Dance Suite was originally composed by John Gardner for Wind Band, and has been re-set for the modern Concert Band instrumentation. Both the original version, edited and type-set by Paul Noble, and this arrangement are first editions now available for purchase to bands around the world. The set of seven Renaissance dances depict John Gardner's love of Scottish music, the Renaissance heritage, and some of his own mischievous approach to music. The first movement, Chacony on a Golden Theme, reminiscent of the Allegro movement of Purcell's Golden Sonata, is much used as a vehicle for variation on a repeated short harmonic progression, often involving a fairly short repetitive bass-line which offered a compositional outline for variation, decoration, figuration and melodic invention. In this it closely resembles the passacaglia. The Alman originated in the 16th century as a duple metere dance of moderate tempo, already considered very old, with a characteristic double-knocking upbeat of one or occasionally three sixteenth notes. It appears to have derived from a German dance but no identifiable dance and no German dance instructions from this era survive. The Hornpipe, usually in 3/2 dance rhythm, is an Irish, Scottish and English dance. It is done in hard shoes, which are used to help keep track of how the dancer keeps in time. There are two variations of the hornpipe dance: fast and slow. Usually, more experienced dancers will do the slow hornpipe but younger dancers will start out with the fast hornpipe and then switch in later years. The Corranto is a 16th-century court dance characterized by short advances and retreats, in quick triple time. The Volta (Italian: the turn or turning) is an anglicised name from the later Renaissance. Its main figure consisted of a turn and lift in a sort of closed position. The Pavan is a slow processional dance common in Europe during the 16th century. The Reel, indigenous to Scotland, consists largely of quaver (eighth note) movement with an accent on the first and third beats of the bar.
Estimated dispatch 7-14 working days
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£113.30Via Della Terra - Marco Somadossi
Composing music also involves being able to imagine the sound of something that has no sound of its own. "Via della Terra" is a soundtrack without a film, a story without a narrator; "Via della Terra" is a street in a town, but not just any street, because if a street could tell its story, "Via della Terra" would not know where to start or where and indeed if it should finish. Like all "Vie della Terra", this street in this piece is full of sounds, none of which, however, have ever belonged to it for more than a fleeting moment, just long enough to be reflected here and there and then up and away from the earth, to be lost in the air. The steps of Mozart as a child as he whistled a piece of music, never again to be remembered or written; the philosophical thoughts, or mere everyday cares, uttered to a friend by Rosmini (whispered? or declaimed?); the excited or humorous comments of people who saw Depero's futuristic works for the first time; the voices of marketstall owners, rendered louder and more acute by the noisy crowd of women sorting through the stalls of rustling and colourful silk (so many desires; silent pauses between one item of gossip and the next); the absolute and devastating roar of cannons that violated every corner of the town, injuring bodies and mutilating the memories of its inhabitants... followed by a seeming eternity, as the citizens held their breath, waiting... "Via della Terra" is the old imperial road along which the town of Rovereto was built and has developed. "Via della Terra" is music for an imaginary, impossible and simultaneous representation of all its stories. The composer has always lived in this town, which he dearly loves, and on innumerable occasions he has imagined the voices, smells, people and the lives that have been such a part of it. With his composition, "Via della Terra", Marco Somadossi won second prize (no first prize was awarded) at the XXI Corciano International Competition for original band music in the grade 4 category.
Estimated dispatch 7-14 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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£250.00The England of Elizabeth,Three Portraits from (Concert Band - Score and Parts) - Williams, Vaughan - Noble, Paul
This suite was derived from Vaughan Williams' score for the film, The England of Elizabeth, written in 1955. It was the composer's tenth of his 11 cinematic efforts and designed to serve a more descriptive role than other such scores, since the movie was a documentary featuring no action scenes, but lots of images of paintings, buildings, and the like. Composer Muir Matheson adapted this three-movement suite, probably shortly after the composer's death in 1958, though publication of the manuscript would not come until 1964. The first movement is entitled Explorer, and refers to Sir Francis Drake. Its music is mostly festive and colourful, but features interior passages of exotic flavor, similar in style to that of Vaughan Williams' then-recent Symphony No.8. The second movement is entitled Poet and, at about seven minutes, is the longest of the three in this 16 to 17 minute work. It also contains probably the score's best music, hardly a surprising result since the poet in question is Shakespeare, one of the composer's favourites and an inspirational springboard for so many other of his works. The mood is mostly subdued and Vaughan Williams presents lovely, if slightly somber music in the opening, and follows it with a hearty, folk-like dance tune. The latter part of this movement depicts Shakespeare as a noble, heroic figure in English history. The last movement, Queen, is devoted to Queen Elizabeth. It has a regal yet muscular manner at the outset, and features a gentle but somewhat disengaged middle section. It returns to the splendor and colour of the opening to close the work. This suite is important because it distills some of the best music from the film into a logically assembled structure. Program notes extracted from those of Robert Cummings.
Estimated dispatch 7-14 working days
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£407.00Symphony Nr. 3 Urban Landscapes Op. 55 - Franco Cesarini
Fascinated by the beauty of Chicago, Franco Cesarini has translated his emotions into music: this is how Symphony No. 3 "Urban Landscapes" Op. 55, was born, a musical portrait of this metropolis overlooking Lake Michigan. The composition is divided into three movements: The Wrigley Building from Dawn to Noon, Blue Silhouette and Cloud Gates, which by sharing the same thematic material arranged in cyclical form, strengthen the overall cohesion of the piece. The first movement, preceded by a short slow introduction in which the main theme is presented in an almost dreamlike form, metaphorically represents the city at dawn. The sudden change of time symbolizes the start of activities with all its noises and sounds: you can hear the bell that announces the closing of the subway doors, the sound of cars speeding by, the siren of a patrol car. If the first movement represents the day, the second introduces a nocturnal environment: a melancholic melody played by the English horn anticipates a more animated tempo depicting melodies coming from jazz clubs. Powerful fanfares that take up the second theme of the first movement introduce the third movement. In this finale, the role of the two themes is reversed compared to the first movement and one takes the place of the other in a kind of games of mirrors. Symphony No. 3 "Urban Landscapes" Op. 55: a sumptuous musical portrait of the "Windy City".
Estimated dispatch 7-14 working days
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£54.99
Burr's Triumphal - Alexander
This exciting march dates from Alexander's time as a member of the band for G. W. Belford's Carnival of Novelties. A later edition (013-0861-00) is also published.Note: This is a reprint from a vintage publication of 1897. No conductor score is published for this work. The Solo Cornet part serves as a conductor guide.Due to the era of this work, saxophone and double-reed parts are not published. Parts for Eb Horns are included; no F Horn parts are published for this work. If a C Piccolo/C Flute part was not published originally, one has been subsequently added by our editorial staff.
Estimated dispatch 7-14 working days
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