Results
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£84.50Power Of The Redstone - Amy Webb
"Power of the Redstone is dramatic, exciting, and, most of all, it is fun to play! While I have written the piece in g minor, I have thrown in some diminished 7 chords and added some v chords for extraordinary sounds and novelty that students (and teachers who are tired of hearing I-iv-v-I over and over) are sure to latch on to and enjoy. The ranges on all of the instruments are well within the grade level of the piece, with Trumpet 1 going as high as 4th line D (just a couple of times), flute going no higher than their "C" and Trombone hitting their high E-flat one time. Dynamics are a very crucial part of this piece." - Amy Webb
Estimated dispatch 7-14 working days
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£95.95Scattering Leaves by the Clocktower - Roger Cichy
Exciting, energy, moving, majestic, this composition has it all. With various different time changes, it is a challenging composition with great reward. The first trumpet's highest note is G. All clarinets cross the break.
Estimated dispatch 7-14 working days
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£106.95Cloud Dancing - Roger Cichy
The composer is a glider pilot and this composition expresses his experience and feeling while gliding through the air and clouds. It is a wonderful experience of varying tempos and musical ideas, all very melodical. The ranges are all very much within a Grade 3. The first trumpet's highest note is F.
Estimated dispatch 7-14 working days
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£84.50Emblazoned Joy - Roger Cichy
An energetic majestic sounding work with various time changes, is a perfect concert opener or any part of your concert. It is bold, majestic, and exciting all at the same time. All clarinets cross the break. 1st trumpet's highest note is A.
Estimated dispatch 7-14 working days
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£135.80Ad Quartum - Luciano Feliciani
The city of Quart derives its name from the Latin "Ad quartum ab Augusta lapidem", or four Roman miles from Augusta Praetoria, present-day Aosta, along the ancient Roman consular road of the Gauls. The fortress of Quart, whose construction began in 1185, is the main source of inspiration for the composition. The work begins, in fact, as if wrapped in a mysterious, suspended atmosphere, when the fog that envelops the manor suddenly thins out and lets one see the majestic building in all its austerity. A rhythmically exciting episode follows this brief introduction, ideally describing the events that have marked the long history of these places. The music highlights the percussion instruments, which evoke ancient medieval atmospheres in a modern language. The second theme, derived from the previous one, describes instead emotions and feelings of grandeur, beauty, and peace associated with the splendid Valle d'Aosta mountains that surround Quart. A developed melodic idea, supported by wide-ranging harmonies, attempts to musically portray the extraordinary natural beauty of these places. The reprise of the first theme, varied and presented in a lively and energetic movement, guides the final part of the piece: a coda where all the melodic and rhythmic ideas previously exposed are condensed.
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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£141.60Story Book - Daniele Carnevali
The piece, commissioned in 2001 by the Banda Civica di Soncino, is one of several works that have been specifically written for this prestigious wind orchestra by a number of well-known North European composers. "Story Book" is inspired by a group of tales that are a mixture of history and legend- the former based on historical facts, the latter on traditional beliefs- all connected with life in Soncino (a farming and industrial community in the Cremona plain). The tales are all involves events in the castle (which is still in very good condition) and life at court during the late Middle Ages and early Renaissance period. As the piece develops, it recounts the legend of strange presences in the castle tower (Phantom of the red tower), the bloody battle against invaders (The battle), the foggy landscape and strange female figures seen floating over marshland where there was once a lake (Enchanted lake), and finally the ceremony in the castle's Piazza d'Armi to celebrate victory over the invaders.
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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£39.95Music for Junior Wind Band Vol. 3
Another fabulous arrangement from Adrian Taylor of popular tunes for Junior Wind Ensemble. It is not necessary to have all parts being played for these arrangements. Most will work fine with just the two Trumpet/Clarinet parts and a bass line from trombones, tubas or bassoons. With the exception of the bassoon part, all instruments have a part 1 (more advanced and with key signatures) and a part 2 (easier music, lower notes, rarely crossing the break for woodwind players, and without key signatures for treble clef instruments). A piano part is included to help fill out the harmonies for smaller groups.
Estimated dispatch 7-14 working days
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£39.95Music for Junior Wind Band Vol. 4 Christmas - Gustav Holst
It is not necessary to have all parts being played for these arrangements. Most will work fine with just the two Trumpet/Clarinet parts and a bass line from trombones, tubas or bassoons. With the exception of the bassoon part, all instruments have a part 1 (more advanced and with key signatures) and a part 2 (easier music, lower notes, rarely crossing the break for woodwind players, and without key signatures for treble clef instruments). A piano part is included to help fill out the harmonies for smaller groups.
Estimated dispatch 7-14 working days