Results
-
£450.00Concertango (Alto Sax Solo and Jazz Trio with Concert Band - Score and Parts) - Alarcon, Luis Serrano
This work explores musical fusion on multiple levels through the contrast of symphonic winds to a jazz trio (piano, bass, drums). Both groups are independent at times followed by a merge into a single unique musical force. The alto saxophone soloist stands as the uniting musical element between the two groups. The omnipresent and uniting musical force is the tango and, in particular, the works of Astor Piazzolla. Luis Serrano Alarcon has transformed the rhythms, ensemble settings and stylistic idioms into a powerful artistic statement that communicates to all. A highly effective work for mature ensembles.Duration: 26.45
Estimated dispatch 7-14 working days
-
£61.00Short Cuts for Beginning Band - Volume 5 (Concert Band - Score and Parts) - Story, Michael
A sure fit for your beginners using just the basics, this suite features Bruno Mars' "Treasure," "Eye of the Tiger" from Rocky III, Camila Cabello's "Havana," and closes with "And All That Jazz" from Chicago. Each theme is focused toward a specific instructional objective and is extremely performable. The tunes can be programmed all at once or throughout your school year.Duration: 3.45
Estimated dispatch 7-14 working days
-
£60.50Short Cuts for Beginning Band -- Vol. 5
A sure fit for your beginners using just the basics, this suite features Bruno Mars' "Treasure," "Eye of the Tiger" from , Camila Cabello's "Havana," and closes with "And All That Jazz" from . Each theme is focused toward a specific instructional objective and is extremely performable. The tunes can be programmed all at once or throughout your school year.
Estimated dispatch 3-5 working days
-
£70.50At the Movies - The Musicals (Concert Band - Score and Parts) - Williams, Justin
Musicals and movies are a match made in heaven! Mamma Mia, La La Land, and Chicago are three timeless masterpieces of this immensely popular genre. Incorporating "Dancing Queen," "Mia and Sebastian's Theme," and "Overture/And All That Jazz," At the Movies - The Musicals provides a memorable and exciting journey into the wonderland of movie musicals.Duration: 3.45
Estimated dispatch 7-14 working days
-
£82.50
On That Night All Was Silent - David Samuel
Jazz pianist David Samuel provides a completely new setting to the classic Silent Night carol. The theme opens with a Clarinet solo with counter melodies stated from other parts of the melody. With the use of creative twists in themes at every turn, audiences will be captivated by this familiar, yet original, musical journey.
Estimated dispatch 7-14 working days
-
£42.50Music from Chicago
From the blockbuster movie, here is an easy arrangement of the show's most popular songs. Includes: And All That Jazz, Cell Block Tango and Roxie.
Estimated dispatch 7-14 working days
-
£344.30Goldberg 2012 - Svein H. Giske
The first time I heard Bach's Goldberg Variations was in the movie Silence of the lambs, in the early 1990s. I noticed the beautiful background music in one of the scenes, but at that time I didn't know what it was. A few years later, when I was studiying at the Grieg Academy, I got to know the entire piece. For me, this is a piece of music which I can listen to countless times. I think it sounds as fresh today as it did more than 15 years ago and it never ceases to inspire me. Both Bach's composition and Glenn Gould's famous 1955 recording (which was the first one I heard) still makes a great impression on me. Before Gould recorded it at age 22, it wasn't a highly ranked piece amongst pianists and Bach was by many viewed as a bit old-fashioned. The young Canadian turned all this around. He managed to portray Bach in a reformed way, producing fine nuances in phrasing and making the many layers in Bach's music more transparent than anyone before him. Thus he plunged both himself and Bach (back) onto the international music scene. When The Norwegian Band Federation (NMF) asked me to write the test piece for NM in 2012, it was only natural for me to use the Goldberg Variations as a starting point and inspiration for my work. Since I was a teenager at NMF's summer courses in the mid eighties I've always listened to many different styles of music. Growing up in Sunnmre with the Brazz Brothers as teachers and mentors, jazz-, pop/rock- and folk music were early on a natural part of my musical background. I also have my classical education from the Grieg Academy on trumpet. As the title of my piece implies, I've wanted to bring Bach to the present and put his music into various modern musical landscapes. I think you can bring about a special kind of energy when music from different genres are mixed and I've tried to do this by mixing Bach with artists and musical styles from the present. In Goldberg 2012, the music is often constructed by several layers, which in a way are living parallel musical lives. They are seemingly moving or floating freely, almost unaware of each other, but bound together by the same basic pulse. The rythms, however, are often notated on a different rythmic subdivision level than the usual 8th- or 16th note levels. By doing this, I hope to achieve transparent sounds that rythmically are perceived as more free and detached from each other. In large sections of the piece, pop/jazz is fusioned with elements from Bach. I guess you could have this little scene as a synopsis for the piece: picture a group of musicians meeting: some are classical performers, some are jazz. They start to improvise together, each in their own voice or musical dialect and I'm sort of in the middle, trying to write down what they are playing. This is what I feel much of Goldberg 2012 is about. The foundation of the piece, in addition to Bach and references from pop/jazz music, lies also in my own material. This material, basically two chords, is heard in it's purest form in the 1st movement. I use these chords to create scales, new chords and different motifs which contribute to blend together the different moods of the piece. It has not been my intention to copy Bach's form (theme and 30 variations), but rather to use the bits and pieces that I like the most as an inspiration for my own variations. The 1st movement, Aria 2, is for my 3rd son, Olav, who was born on the 21st of April 2011, and the 5th movement, From long ago, is dedicated to the memory of my father, Svein J. Giske, who passed away on the 6th of June 2011. -Svein H. Giske, January 2012-
Estimated dispatch 7-14 working days
-
£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
-
£104.99Unforgettable (Concert Band - Score and Parts) - Gordon, Irving - Mashima, Toshio
The phenomenal success of the singer Nat King Cole, eclipsed the talent of the jazz pianist to a legacy that remains a jazz master and model. For all of us, there remains his own unique interpretations of such classic songs as Sweet Lorraine, Mona Lisa, Embraceable You, Besame Mucho and, of course, Unforgettable, which was re-released many years after his death by his daughter, Natalie Cole. With more than 60 million discs sold, Nat King Cole was one of the first black American artists to attain such international notoriety. His clear and distinguished voice allowed for him to become a renowned crooner to his legions of loyal fans.Duration: 4:15
Estimated dispatch 7-14 working days
-
£49.50Blues Is My Favorite Color (Concert Band - Score and Parts)
A tasty little swing tune that is perfect for teaching the swing style to young players. As part of the new Barnhouse Jazz For Developing Concert Bands Series this arrangement includes parts for all of the regular Jazz Ensemble instruments plus Flute, Oboe, Clarinet, Bass Clarinet, F Horns, Baritone and Tuba. A great teaching tool and an enjoyable selection for your next concert. First rate in every respect!
Estimated dispatch 7-14 working days
View Music