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£68.99
Shore to Shore - Paul Curnow
In the early days of the United States, a main source of transportation was the many waterways, rivers and the Great Lakes. From this focal point of commerce and social activity came many wonderful folk songs. Shore to Shore uses two of these sailing songs. Blow ye winds blow and Leave her no more.
Estimated dispatch 7-14 working days
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£94.99
Silver Ribbon Chanteys - James Curnow
The title, SILVER RIBBON CHANTEYS, comes from the fascinating history of Ohio and the collections of great old folk songs that came into existence because of the Ohio-Erie Canal. There are three distinctly different movements, each featuring one historic canal folk song. The diverse folksongs call for a wide range of playing styles and make a well-balanced and interesting combination.SILVER RIBBON CHANTEYS is yet another exciting adventure in music for you and your band. These hearty, old canal folk songs are real diamonds in the rough! You are sure to enjoy this delightful arrangement!LOW BRIDGE! EVERYBODY DOWN!
Estimated dispatch 7-14 working days
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£116.60
God morgen, min kjre - Benny Borg
Most Scandinavian people know Benny Borg. As a guitarist, composer, lyric writer and a show actor, he has been producing great music for many decades. His most famous songs are probably "Balladen om Morgan Kane", "En spennende dag for Josefine" and "Den store dagen". When Benny Borg made his comeback with the new album, "Den strste reisen" in 2016, he wrote some of the strongest songs of his career. Maybe the strongest one is "Good morning, my dear", that he wrote to his wife after she died.
Estimated dispatch 7-14 working days
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£113.30
Moderate 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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£109.10
Romjulsdrm - Thoralf Borg
The poem Romjulsdrm ("Christmas Dream") was first published in Arbeiderbladet on January 3rd 1959, and became known when Thoralf Borg set a melody to it in 1968. Up until this, Alf Prysen had used a melody quite similar to the song Lijan uti dalen, when he sang the song in the TV program Ei vise vil jeg synge in 1964. At the same time that Borg's melody was written, the last four lines of text were also added to the poem, and the song took on the form we know today.The form and structure of this arrangement originates from a version for big band and vocals commissioned by stre Toten Storband, written in 2018 for one of their traditional midnight concerts on the day before Christmas. In an attempt to give the arrangement a nice calm and the text a lot of room, as is often the case in songs like this, it ended up in a relatively narrative style where the variation in tempo and the shifts between swing and straight eighth notes are particularly central.The song is about family, friendship and the quiet days of the Christmas holidays, which hopefully is something most people can recognise. The arrangement for the aforementioned midnight concert was ordered because my sister was to be the soloist for the concert, and since my father also played lead trombone - as he has done in this big band for as long as I can remember - it was natural to add a small trombone solo as well. It's always special to write and arrange music for people I know and appreciate, but it's extra special when it's also for two of my great role models.- David Stre Hveem -
Estimated dispatch 7-14 working days