SKU: CN.R10086
SKU: CN.R10298
Another great march from William Rimmer, March King, who is reputed to have written more that a hundred marches. March: The Cossack opens with a magnificent portrayal of the strength and vigor reminiscent of a Russian Cossack. An insightful Trio provides evidence of a Cossack's more reflective side before a short bridge takes the music back, via a Da Capo, to its opening power and strength. Another great march from William Rimmer, Britain's Lancashire-born March King, who is reputed to have written more that a hundred marches. A Cossack, as defined in The Oxford Dictionary, is a member of a people of southeastern Russia, especially as light horse in Russian army. William Rimmer's march opens with a magnificent portrayal of the strength and vigor which that definition implies and there is more character portrayal to come. An insightful Trio provides evidence of a Cossack's more reflective side before a short bridge takes the music back, via a Da Capo, to its opening power and strength. In William Rimmer's skillful hands, March: The Cossack is veritably a musical portrait.
SKU: CN.S11298
SKU: CN.S11281
For many, Lancastrian William Rimmer is Britain's 'March King.' His marches are wonderful, every one with its own unique personality and form. Like Sousa, he also created and played a vast catalogue of band music ranging from waltzes and solos to great selections from the masters, but it is for his marches that he is remembered today. Slaidburn is a village in the county of Lancashire, England, but was originally part of the West Riding of Yorkshire. Rimmer composer this easy but effective and much-loved march for the village band.For many, Lancastrian William Rimmer is Britain's 'March King.' His marches are wonderful, every one with its own unique personality and form. Like Sousa, he also created and played a vast catalogue of band music ranging from waltzes and solos to great selections from the masters, but it is for his marches that he is remembered today. Slaidburn is a village in the county of Lancashire, England, but was originally part of the West Riding of Yorkshire. Rimmer composer this easy but effective and much-loved march for the village band.
SKU: CN.S11280
For many, Lancastrian William Rimmer is Britain's 'March King.' His marches are wonderful, every one with its own unique personality and form. Like Sousa, he also created and played a vast catalogue of band music ranging from waltzes and solos to great selections from the masters, but it is for his marches that he is remembered today. Pulcinella, often called Punchinello or Punch in English, is a classic character with a long nose which originated in the 17th century Italian Commedia dell arte.For many, Lancastrian William Rimmer is Britain's 'March King.' His marches are wonderful, every one with its own unique personality and form. Like Sousa, he also created and played a vast catalogue of band music ranging from waltzes and solos to great selections from the masters, but it is for his marches that he is remembered today. Pulcinella, often called Punchinello or Punch in English, is a classic character with a long nose which originated in the 17th century Italian Commedia dell arte.
SKU: CN.R10202
Warlike, then noble, Now is the Day is based on the great figure in Scottish history - William Wallace, often called Braveheart. Opening with the woodwinds playing drums along with the percussion section against brass fanfares, this piece will create an air of excitement. An alto saxophone solo provides a brief moment of solace between the battle scenes.This work is based on a great figure in Scottish history - William Wallace, often called Braveheart. The song Scots wha hae wi' Wallace bled, which is Scotland's unofficial national anthem contains the line Now is the day and how is the hour, and this is the source of the title. The opening section is warlike in sound with woodwinds playing tambours of some sort - tom-toms, tambours, even old drum skins will make the kind of noise required to simulate a battle. Noisy brass fanfares are melodic fragments of Scots wha hae melody. Eventually, woodwinds join in and the music slows down to an alto saxophone solo, again based on fragments of Scots wha hae. The battle tempo resumes and percussion then lead the band noisily into an eventual full statement of the theme creating a noble sound against the continuing drum patterns, leading to a triumphant ending.
SKU: AP.36-A464991
ISBN 9798892700023. UPC: 659359968167. English.
While Felix Mendelssohn (1809-1847) modestly refers to Hear My Prayer (Hör' mein Bitten) in G Major, WoO 15, as a trifle, it is among his most popular works for chorus. On the autograph score, he inscribed the following: A sacred Solo, for a Soprano and Chorus, with Organ accompaniment, composed for W. Bartholomew, Esq., by Felix Mendelssohn Bartholdy. William Bartholomew wrote the text, which is derived on Psalm 55, and requested that Mendelssohn set it to music. This version premiered on January 8, 1845, at Crosby Hall in London. In 1847, Mendelssohn orchestrated the work, but he passed before he could hear this version, which premiered on December 21, 1848, in Dublin. Score and parts for orchestral accompaniment available separately. This edition adds reheasal numbers that match between the score, parts, and choral score.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: CN.S11239
Michael Brand's evocative and atmospheric setting captures the fife, drum and heraldic fanfare of the battlefield. Ideal for contest and festival.The old Agincourt carol is medieval and unmistakably English. Our King set forth to Normandy is the refrain memorably featured by William Walton in his music for Henry V.
SKU: CN.R10308
For many, Lancastrian William Rimmer is Britain's 'March King'. His marches are wonderful, every one with its own unique personality and form. Like Sousa, he also created and played a vast catalogue of band music ranging from waltzes and solos to great selections from the masters, but it is for his marches that he is remembered today.
SKU: CN.S11308
SKU: CN.R10018
The melodies in Songs of the West differ in styles, keys, and tempos. The nautical nature of the coastal region is evident in many of the melodies. Gustav Holst did not have much success in getting his early compositions published. In 1905, he began a career as a gifted teacher when he was appointed Director of Music at St. Paul's Girls School in Hammersmith. It was also a time when he developed the friendship of Ralph Vaughan Williams and the two developed an interest in English folk music. This became a turning point in Holst's style as he left behind the heaviness of the Wagnerian style for the simplicity of folk melodies. Vaughan Williams wrote 'we were dazzled, we wanted to preach a new gospel, we wanted to rhapsodise on these tunes just as Liszt and Grieg had done on theirs - we simply were fascinated by the tunes.' Enthusiastic archivist Cecil Sharp, of the Folk Song Society, encouraged Holst to write 'Two Selections of Folk Songs' based on material Sharp had collected in the West of England. Songs of the West was the first of the pair noted as Opus 22 was written in 1906; A Somerset Rhapsody was completed the following year. The melodies in Songs of the West differ in styles, keys, and tempos. The nautical nature of the coastal region is evident in many of the melodies. Originally written for orchestra, noted composer James Curnow was commissioned in 1986 to arrange the work for concert band.
SKU: CN.S11242
Scenes from an English Landscape is a brief nostalgic tone poem taking its inspiration from visions of rural England as depicted in the paintings of John Constable, the novels of Thomas Hard, and the music of Gustav Holst and Ralph Vaughan Williams. A chorale-like theme is stated in the brass and then taken up at three times the tempo in the woodwinds. At the end of the work, both versions of the theme are stated together to bring the piece to a triumphant climax.This is a brief nostalgic tone poem taking its inspiration from visions of rural England as depicted in the paintings of John Constable, the novels of Thomas Hard, and the music of Gustav Holst and Ralph Vaughan Williams. I imagined a community of villagers coming out of church and filling a village square with their vibrant presence. A chorale-like theme is stated in the brass and then taken up at three times the tempo in the woodwinds. At the end o the work, both versions of the theme are stated together to bring the piece to a triumphant climax. Adam Gorb was born in Cardiff and started composing at the age of ten. His first work broadcast on national radio was written when he was fifteen. He studied at Cambridge University (1977-1980) and the Royal Academy of Music (1991-1993) where he graduated with the highest honours including the Principal's Prize. He has been on the staff at the London College of Music and Media, the junior Academy of the Royal Academy of Music and, since 2000 he has been the Head of School of Composition at the Royal Northern College of Music in Manchester . International recognition came in 1994 with the US Walter Beeler Prize for his work Metropolis . With it began what has developed into probably the most important wind ensemble catalogue by a contemporary composer, ranging from extremely challenging to the most accessible, at all technical levels, seized on by players internationally, widely recorded and now absolutely central to the world's wind repertoire. Equally important though are his works for dance, and concert pieces like the chamber orchestral Weimar , the Violin Sonata , a Clarinet Concerto for the Royal Liverpool Philharmonic Orchestra and Diaspora for strings (for the Goldberg Ensemble). Deceptively mainstream at first glance, they display the same inventive brilliance, pulsating sound world, striking use of rhythm and an undogmatic absence of stylistic hang-ups to embrace jazz and serialism in works where power, poetry, irony and pathos, often underlaid by a theatrical and deeply subversive element, coalesce in an integrated, highly individual musical voice. Gorb is also not afraid to draw on the vivid musical heritage of his Jewish roots, sometimes directly, often in a more subsumed or radically creative way. The crucial and consistent feature of Gorb's work though is that it communicates strongly without patronizing players or audiences. He firmly believes that if contemporary music - any music - does not impact on listeners then its message is irrelevant; it is lost.
SKU: CN.R10021
Suite in B-flat is in three movements. The first section is jaunty and lighthearted, the second is subdued and tranquil, whilst the third is a symphonic march which gives the bands plenty of chance to blow their socks off.British composer Gordon Jacob ranks as one of the world's foremost contributors to the wind ensemble repertoire, with hundreds of works for military band as well as other types of musical groups. He earned his Doctor of Music degree and also taught counterpoint, orchestration and composition for 40 years at the Royal College of Music. He wrote band works along the lines of Gustav Holst and his good friend Vaughan Williams - not imitating their style but, as he said, striving to come near to their spirit of adventure and independence of thought in his own work. This suite was originally written for Brass Band in 1955 and was arranged for symphonic band in 1979. It has three movements, opening with a lighthearted March, followed by a subdued and tranquil movement entitled Solemn Music. The suite closes with a symphonic march, which showcases the power of the wind ensemble.
SKU: GI.G-317147
ISBN 9781574630381. UPC: 073999171471.
With this superb text, Dr. Rapp gives the wind band community both a historical and musical insight into three of its most revered composers. His study of their band works' evolvement through traditional folk music will serve as a fascinating resource, giving both veteran and novice conductors an invaluable understanding of the band repertoire's formative stages.
SKU: GI.G-10580
ISBN 9781622776375.
Contributors: Travis J. Cross (University of California–Los Angeles) • David J. Elliott (New York University) • Marissa Silverman (Montclair State University) • Jacob Wallace (South Dakota State University) • Randall Everett Allsup (Teachers College, Columbia University) • Cynthia Johnston Turner (Wilfrid Laurier University) • Carolyn Barber (University of Nebraska-Lincoln) • John Kratus (Independent Scholar) • Vincent C. Bates (Weber State University) • Thomas G. Warner, Jr. (North Carolina Agricultural and Technical State University) • Ben Hawkins (Transylvania University) • Thomas A. Regelski (SUNY Fredonia School of Music, Helsinki University of Finland) • Paul Woodford (Western University) • Charles Peltz (New England Conservatory of Music) In the wind band profession—as in every great discipline—it is critical to take stock in the big questions about where we are heading, and why, as we move through the twenty-first century. This thought-provoking book contains seven high-level exchanges between a leading wind band practitioner and a music education philosopher. Each section of The Future of the Wind Band grapples with the most profound issues facing the music education profession and the path of instrumental music education in our schools: Relevance: What relevance, if any, does the wind band have both to today’s students and to culture more broadly in the twenty-first century? What relevance does the band experience hold for students’ everyday life? Repertoire: What is the relationship between the repertoire performed by wind ensembles and the larger musical world? Pedagogy: What constitutes best practice in terms of musical pedagogy and rehearsal technique within the large-ensemble experience? Creativity: Can the wind band function as a vehicle for enhancing the individual creativity of its members? Economic Justice: How do issues of social class and the distribution of wealth relate to broader questions of social justice within the context of instrumental music education? Professional Ethics: What are the primary ethical responsibilities of the wind band conductor? Democratic Citizenship: What relationship, if any, can be drawn between membership in the wind band and citizen participation in democracy? Such exchanges can only strengthen our profession and pay rich dividends in our musical and educational work with the students we serve. Editor of this book, William (Bill) M. Perrine is Associate Professor of Music and Director of Instrumental Activities at Concordia University in Ann Arbor, Michigan, where he directs the wind ensemble, marching band, and community orchestra.
SKU: GI.G-317135
ISBN 9780634066528. UPC: 073999044904.
From its humble beginnings in 1956, to triumphant concerts in Europe and at the Midwest Clinic, the Northshore Concert Band has led an existence full of twists and turns, adversity and tenacity. How did this group of eleven American Legion musicians evolve into one of the most influential adult bands in history? Follow the story of John Paynter, Barbara Buehlman, and other important musicians as they guide the Northshore Concert Band on the path to excellence.
SKU: GI.G-140975
ISBN 9781574631777. UPC: 888680042479.
This sourcebook was created to aid directors and teachers in finding the information they need and expand their general knowledge. The resources were selected from hundreds of published and on-line sources found in journals, magazines, music company catalogs and publications, numerous websites, doctoral dissertations, graduate theses, encyclopedias, various databases, and a great many books. Information was also solicited from outstanding college/university/school wind band directors and instrumental teachers. The information is arranged in four sections: Section 1 - General Resources About Music Section 2 - Specific Resources Section 3 - Use of Literature Section 4 - Library Staffing and Management.
SKU: CF.CB139F
ISBN 9780825874529. UPC: 798408074524. 9x12 inches. Key: G minor.
Another installment in the Authentic Fillmore Edition series, The Golden Plume was written under the pen name of Will Huff, one of seven pseudonyms used by the famous march composer Henry Fillmore. It is a classic American style march in cut-time that is sure to find a place on your next concert or festival performance, in a new edition just like it was originally intended.
SKU: BT.AMP-377-010
9x12 inches. English-German-French-Dutch.
England enjoys a rich folk song tradition. Composers such as Cecil Sharp and Vaughan Williams rekindled an interest in this heritage at the beginning of the 20th century by arranging numerous songs, some of which were transcribed for the _x001F_first time. Philip Sparke selected three songs from the 18th and 19 century for his Three Folk Song Miniatures: the _x001F_shermanâ??s song Dance to Your Daddy, the love song O Waly, Waly and Bobby Shafto, a song from the northwest of England.Engeland heeft een rijke traditie op het gebied van volksmuziek die door de jaren heen een beetje in de vergetelheid raakte. Componisten als Cecil Sharp en Vaughan Williams brachten hierin verandering door voor het eerst talloze liederen bundelen en soms zelfs voor het eerst tenoteren in modern notenschrift. Philip Sparke koos voor dit werk drie liederen uit de 18e en 19e eeuw: het visserslied Dance to Your Daddy, het liefdeslied O Waly, Waly en Bobby Shafto, een lied uit het Noord-Westen van Engeland.England kann auf eine lange Volkslied-Tradition zuru?ckblicken. Komponisten wie Cecil Sharp und Vaughan Williams weckten Anfang des 20. Jahrhunderts erneut das Interesse an diesem Erbe, indem sie zahlreiche Lieder sammelten und teilweise erstmals notierten. Philip Sparke wählte fu?r seine drei Volkslied-Miniaturenâ?? drei Lieder aus dem 18. und 19. Jahrhundert: das Fischerlied Dance to Your Daddy, das Liebeslied O Waly, Waly und Bobby Shafto, ein Lied aus dem Nordwesten Englands.Comme beaucoup dâ??autres pays, lâ??Angleterre jouit dâ??une longue tradition de chansons traditionnelles transmises oralement au _x001C_fil des siècles. Three English Folk Song Miniatures rassemble trois airs populaires (Dance to you Daddy, O Waly, Waly et Bobby Shafto), prodigieusement arrangés pour orchestre junior ou formation incomplète. Comme dans toutes les publications de degré de diffi_x001F_culté 1 1 ½ des éditions Anglo Music, les parties des registres ténor et basse peuvent être jouées par diff_x001B_érents instruments, ce qui permettra aux orchestres incomplets de toujours produire un son ample et généreux.Lâ??Inghilterra è una nazione ricca di canti popolari. Allâ??inizio del XX secolo, compositori quali Cecil Sharp e Vaughan Williams risvegliarono lâ??interesse verso questa preziosa eredit raccogliendo e in parte arrangiando numerosi canti. Philip Sparke ha scelto per le sue â??tre miniatureâ?, altrettanti canti del XIII e XIX secolo: la canzone dei pescatori Dance to Your Daddy, O Waly, Waly, una canzone dâ??amore e Bobby Shafto, un canto proveniente dalla parte nord-occidentale del paese.
