Hinemoa, Gareth Wood. Brass Band

Gaia Symphony 1. Tsunami2. Window 1(Water-Fire)3. Wildfire4. Window 2 (Fire-Air)5. Aurora6. Window 3 (Air-Earth)7. Men of StoneComposed: 1991 2003Duration: c. 65 minsInstrumentation: Brass BandCommissioned by: the National Youth Band of Wales and the Buy As You View Cory Band (in association with the Arts Council of Wales)1st performance: 10 July 2005, Cheltenham Music FestivalPublished by Kirklees MusicDescriptionThe idea of attempting a large-scale work for brass-band of over an hours duration only emerged gradually in the course of its composition. The first part to be written was Wildfire, the second movement of the present work. This was commissioned in 1991 by the Arts Council of Wales for the National Youth Brass Band of Wales. Four years later, the same organisation commissioned the Symphonic Suite Men of Stone and while working on this I began to perceive thematic connections between the two works that went beyond mere similarities of style and medium.Most importantly, the imagery of Men of Stone encompassed, among other things, all four classical elements: earth for the Avebury movement, air for the blizzard scene of Castlerigg, water for the seascape of Barclodiad y Gawres and fire for the climactic midsummer scene of Stonehenge. Earth, however, was the dominating element behind the whole of Men of Stone and it occurred to me that, with the self-evident fire imagery of Wildfire, the remaining elements, water and air, might be also be included as part of a much bigger scheme that might further develop the existing musical links. Additionally, the four-in-one nature of Men of Stone (the obvious finale to such a grand scheme) might serve as a summary of the entire large-scale structure.Realising this scheme was not straightforward. The very few performances that Men of Stone and Wildfire received in the years immediately after their completion convinced me that there was little point in writing any more music for brass band and the project was placed on indefinite hold.The story now moves to 2001 and a phone-call from Robert Childs. Bob had tutored the NYBBW during some of its performances of the earlier pieces. Now, having taken the BAYV Cory Band to success in both the 2000 National and the Open Championships, Bob explained that he was keen to broaden the bands musical horizons. Both of my earlier works were soon performed, broadcast and recorded by Cory and I was appointed composer-in-residence to the band with a specific view to completing this large-scale project..Bob had also taken over as principal conductor of the NYBBW and it seemed appropriate to involve them too in the creation of the remaining pieces. Tsunami was completed in 2002, with Aurora following a year later. Though both were premiered by the NYBBW (the latter piece conducted by Nicholas Childs), Aurora in particular was composed with the specific qualities of Cory very much in mind.There remained the question of how to connect the four parts. This was a problem, because it was becoming apparent that the whole scheme was not just a collection of four separate pieces, but a single entity comprising four autonomous, but deeply related, elements. I resolved to connect them together. However, this immediately raised musical and practical problems. For a start, the continuous unrelieved sound of the brass band might well become tedious over the course of more than an hour; secondly, no band in the world could possibly have the stamina to sustain a continuous piece of such unparalleled length.The first solution was to provide electro-acoustic interludes, but I abandoned this idea at an early stage. The guiding principle behind all my music is that it originates in my inner ear if I cannot hear it in my head then I cannot write it. Electronic and electro-acoustic music, much as I admire a great deal of it, is something I never hear in my head. To create it would involve experimentation in the studio and this is something I cannot in all conscience do. Instead, I decided to write three short movements for percussion ensemble Windows as I came to call them: openings in the continuous wall of brass sonority which offer a glimpse of another kind of sound world. They also act as transitions between the movements and give the brass players (though not the conductor!) a few minutes of much-needed recuperation.Even before I completed the project, some people were already referring to it as a symphony. Personally, I was extremely wary of the term; I have written three numbered symphonies and have fairly strong views about what a symphony should be. However, I gradually came to feel that symphony was indeed the correct term, because of the thematic and structural links between the movements and also because the whole piece undeniably has the outlines of a traditional four-movement symphony, with a complex opening movement, followed by a scherzo, a slow movement and a more discursive finale. True, the four individual pieces are complete in themselves, but I feel the experience of them is enhanced when they are heard in the wider context.Another way of viewing the whole structure is to compare it with the portmanteau Hammer horror films that were popular in the 60s and 70s. Typically, these featured several short stories, all related by common characters and subjects, and usually linked by a separate connecting narrative between the main stories. In my work, as well as connecting the main movements, the three Windows trace their own separate narrative in that they gradually move from rhythmic regularity in Window 1, via an elaborate counterpoint of different pulse-rates in Window 2, to rhythmic flexibility and no regular pulse at all in Window 3. The main movements themselves also show a progression in mood and metaphor, from catastrophe and destruction in the first two movements to more benign imagery in the last two (the final movement being the only one concerned with the human impact on the world).The Gaia part of the title reflects the symbolic connection of each movement to natural phenomena. Gaia was the Greek goddess of the earth the daughter of Chaos. Gaia is also the name given to the theory pioneered by the distinguished British scientist James Lovelock which proposes the earth itself to be a living, self-regulating organism. The idea has been enthusiastically adopted by various ecological organisations and has often been distorted in the process. If I understand it correctly, Gaia Theory offers something more original and uncomfortable than the customary concerns about saving the planet for future generations. Instead of an essentially anthropocentric view, Gaia takes the much broader view that the earths colonisation by humankind merely marks a certain point in its history and, in global terms, is no more significant than, say, the age of the dinosaurs. Like them, we shall ultimately be wiped out either by our own ingenuity (which will be a unique achievement) or by a catastrophic external intervention, like a comet or an asteroid and the colossal damage we continue to inflict on the earth will eventually be healed (although the human race will presumably not be around to see this). From an artistic point of view, I find the cyclic nature of this idea strongly compelling even if it does imply a limited future for my own and any other artists creations.© John Pickard 200

King Arthur was the first of 28 scores Benjamin Britten (19131976) composed for radio between 1937 and 1947. It was an ambitious dramatisation of King Arthurs life and times part pageant, part play, part cantata written by D.G. Bridson.This colourful suite incorporates the Introduction, a dramatic Wild Dance, some of the music underscoring the scenes for Galahad and The Holy Grail, and two vivid battle scenes, ending with The Final Battle and Apotheosis. King Arthur (scenes from a radio drama) for brass band should not be confused with a much longer orchestral suite which Paul Hindmarsh devised from the same source in 1995.King Arthur (scenes from a radio drama) will be played by the 20 First Section finalists on 16th September 2018 at this years National Brass Band Championships of Great Britain

DIAMOND HERITAGE, DARROL BARRYUsed as a 3rd and 4th section test piece in both the United Kingdom and Australia.Testpiece for the 2000 Mineworkers Competition, also for 3rd.Section of the 2004 National Finals in Harrogate, September 2004.Diamond Heritage was commissioned by the Friends of Pleasley Pit in 1999 with funds made available by the National Lottery A4E Express. The work is dedicated to the on-going restoration of the once great Pleasley Colliery situated several miles to the West of the town of Mansfield in the North Derbyshire coalfield.Pleasley Pit was active from 1873 to 1983 and employed between 600 and 1400 men during its long life, many of whose families still live nearby. The pit first mined coal in 1875 and in the intervening years produced over 45 million tormes of steam raising coal. The Friends of Pleasley Pit were concerned that the buildings and other aspects of the pit should survive. These enormous efforts are coming to fruition now with the preservationof these fine relics of a time now gone for future generations to enjoy and marvel at. The coal mine also had its own brass band, Pleasley Colliery Band, which is still in existence today.The work is based upon the hymn tune Gresford (the Miners Hymn) and begins with an introduction followed by several variations culminating in a final statement of the hymn tune leading to a majestic close. 

VIKING SAGA'Viking Saga' was inspired by my conducting engagements in Norway in the 1980s. Among them was a visit to the Flekkefjord Pike Korps who asked me to write a piece for them. I had just written 'Adventures in Brass' which was very popular, particularly with younger bands, so I decided to pursue the creative energy. My teacher, at that time, was Professor Edward Gregson who encouraged me to develop my ideas into a full-scale work. The piece received a few performances in this version but neither I, nor my teacher, were satisfied so the manuscripts lay dormant. In the summer of 2002 a band from Switzerland- Cordula Brass Baden and Christoph Moor, who had played the piece under my direction in the Swiss National Youth Band, commissioned me to finish the work and make the changes that, I felt, were needed.  In 2016 the Tønsberg Wind Band, from Norway, commissioned a wind band version for their performance in the Norwegian Championships held in Trondheim 2017. This performance is available for streaming and download from iTunes, Spotify, TIDAL, Apple Music and Deezer. Im very grateful to these bands, my teacher and friends for their encouragement. The music is programmatic, rather like film music, and in this sense owes a lot to the great film music writers of our day such as John Williams and Bruce Broughton. The opening introduction is intended to take our imaginations back in time to when the Vikings sailed, in their long boats, across the North Sea to Britain and many other countries in the years 800 - 1066  AD.  They had natural horns, in pairs, made from bronze, which are represented by the 'off-stage' horn cadenzas. There follows a sinister section where the bronze-horn theme is played quietly by the basses. The music breaks out into a section of wild, warlike music portraying the many battles that were fought in those times. Historical discoveries now show us that the invading Vikings were also peace loving and the music describes how they settled in many areas farming the land. This section is a set of variations on a theme.  There follows an unusual section of 'free time' music, which aims to describe a dream-like vision of Valhalla- the place where Vikings warriors go when they die. In Valhalla they can fight all day, drink mead at night & eat the sacrificial pig watched over by the god Odin & his two ravens Huginn and Muninn. The bronze-lure theme is heard once again, and this theme, with a forceful, driving accompaniment, is taken up by each section of the band in turn. Eventually a grand finale, in conquering spirit, arrives and leads us to the majestic and triumphant conclusion. Ray Farr (November 2017) _______________________________________________________________ RAY FARR (b. 1948)  Ray Farr was educated at the Birmingham School of Music and at the Royal Academy of Music. After 10 years as a professional musician with the BBC Radio Orchestra he started his career as a conductor.  Ray has appeared in hundreds of concerts around the world and in some of the finest concert halls including the Royal Albert Hall and the Sydney Opera House and has gained a reputation as a stylish conductor and a planner of interesting concert programmes ranging from light music to 'avant-garde'.  He is equally adept in Classical and modern music and has conducted opera, ballet and oratorio. In 1988 Ray won a special Arts Council Award to study contemporary music with Edward Gregson and Jorma Panula, Professor of Orchestral Conducting at Helsinkis Sibelius Academy.  He has conducted at Leeds Music Festival, Harrogate Contemporary Music Festival, Aldeburgh Festival, Adelaide Festival and the Bergen Festival and has made several L.P.'s, C.D.s and T.V. appearances. Ray has appeared with BBC Radio Orchestra, Norwegian Radio Orchestra (on five occasions), the Stavanger Symphony Orchestra (on a World Wide TV program), Sandnes Symphony Orchestra (as Principal Conductor) and Kristiansand Symphony Orchestra in an exciting concert of French music.

ConstellationsConstellations is a 'razzmatazz' showcase for brass band and features not only the soloists, but also entire sections from within the band. The piece was commissioned by Nicholas Childs and the Black Dyke Band and the title of course refers to a 'group of stars' such as the band is.The stellar references extend to the individual titles of the three movements of the piece: Supernova is in a funk style and features the trombones followed by the tenor horns; Stargazing is the slow section which highlights the euphoniums and baritones then the basses; and Big Dipper is the final section in big band style which gives a chance for the cornets and the percussion to shineComposer Philip HarperInstrumentation Brass BandDuration 12'00"Difficulty Level Moderate

The opening number in Cory Band's 2015 'Four Elements' themed Brass in Concert programme, this piece sets out a mysterious introduction transporting us back to the time of the Greek Philosophers, after which it presents short musical depictions of Fire, Air, Water and Earth. Designed to start your concert with a bang.

Spill Altsaxofon 1Lærebok - Ragnhild Holm-Kaja Holm Rogstad - Elisabeth VanneboPRODUKTBESKRIVELSETil læreren«Spill saxofon» er en nybegynnerbok som er beregnet på undervisning i musikk- og kulturskoler, skolekorps eller for de som tar saxofontimer privat.Denne boken er én av mange bøker i serien «Spill» som er utarbeidet for de fleste instrumentene som representeres i et korps. Flere av melodiene og toneartene er valgt slik at ulike instrumenter kan spille sammen. Vi har likevel lagt vekt på å få til en god progresjon for de som vil lærer å spille saxofon. Av den grunn kan ikke alle melodiene i Bb-boken (sopran- og tenorsaxofon) og Eb-boken (alt- og barytonsaxofon) spilles parallelt.Så snart eleven mestrer et større toneomfang kan melodiene transponeres, slik at elever med Bb- og Eb-instrumenter kan spille sammen. Flere av melodiene i boken er spilt inn med melodistemme og komp som kan lastes ned eller streames fra iTunes, Wimp, Spotify eller liknende. De fleste melodiene i «Spill saxofon» har også besifring i C.I denne boken har vi lagt vekt på at elevene gjennomfører «Daglige øvelser (D.Ø.)» for å oppnå en god klang. For å få god fingerteknikk legges vekt på å spille skalaer, tersbevegelser og brutte akkorder. Gehørspill er en viktig del av opplæringen. De foreslåtte tonene i D.Ø.1 og i gehørmelodiene er valgt i forhold til skalaene. Elev og lærer kan også finne andre melodier som eleven har lyst til å spille. Elevene bør også spille melodier fra boken utenat og lage små komposisjoner selv. Vi anbefaler å kombinere denne boken med supplerende bøker, for eksempel L alphabet du Saxophoniste av Hubert Prati (Gerard Billadot) og etter hvert 23 Minipuzzles av samme forfatter. Når elevene arbeider med flere elementer samtidig, vil progresjonen gå raskere og elevene vil mestre instrumentet på en god måte på et tidlig tidspunkt. Dette vises i «Leksebok» på neste side der vi har satt opp forslag til en hjemmelekse.«Spilletest» finner du mot slutten av boken. Den består av skala, gehørspill og fire melodier, der læreren kan godkjenne hvert nivå. Dette kan gi ekstra motivasjon for elevene til å øve.«På skolen» inneholder melodier knyttet til fag i skolen. Melodiene i denne delen har samme toneart i alle bøker, slik at elevene kan spille sammen. Dette gjelder også de tre siste melodiene i boken som vi har kalt «Samspill med andre».Siste del av boken inneholder notelære, noteark, oppgaver i arrangering og terningspill.Greptabellen på siste side inneholder toner ut over de som elevene lærer i denne boken.Øvefisken er ment som motivasjon for øving og står på side 6 i boken. Lag kopier av denne.I EMNEHEFTE 10 som tidligere ble utgitt av NMF: Berntzen, Mette, Ragnhild Holm og Harald Bergersen (revidert 2002) Om det å spille klarinett/saxofon. Norsk noteservice / notebutikken.no, finnes utdypende informasjon som gjelder saxofonundervisning. Her kan sidene om «historikk, munnstykker og rør, pust, munnstilling og holdning, hvordan øve opp en god klang og bra embouchure, fingerteknikk, artikulasjon og tungeteknikk, om øving» være relevant lesning.Lykke til med arbeidet!Ragnhild Holm og Kaja Holm RogstadInnhold:TeoriMin sideøvefiskMedvirkendeOM INSTRUMENTETDETTE TRENGER DUSTELL OG VEDLIKEHOLDSTÅ, SITTE og MUNNSTILLInGPUSTENØVELSER for FingreneSKALASPILLANSATSER med TUNGENTUNGEØVELSERDine første tonerLegatobueHalvnoter og halvpauserFiredels noter og firedelspauserHelnoter og helpauserRepetisjonstegnÅttendels noter og pauserKryss hever tonen et halvt trinn2/4Pustetegnsenker tonen et halvt trinnD.S . al FineOppløsningstegn / opphevelses tegnD.C. al FineFermateOpptakt3/4BindebuePunkterte firedels noterOKTAVKLAFFLØSE FORTEGNFIRE TAKTER PAUSEKOMPOSISJ0NHUSImprovisereDynamikkIntervallerGJETTELEKAlla BreveMOLLOppgaveCrescendoJUlesangerBursdagerSpilletreningPå skolenGamle kulturer, EgyptGamle kulturer, HellasVikingtidenOppdagelsen av AmerikaNotelæreLag dine egne arrangementerNotearkGreptabellSanger / noter:Ah Ya ZainALL MY LOVINGANSATSØVELSEARABISK SKALAÅttendelsØVELSEAura LeeBalladen om Davy CrockettBARCAROLEBirgits nye hotellBjelleklangbjørnen soverBlåveis pikenBLOMSTER SMÅBLUES SKALABOBOBolla Pinns vinBrandenburger TorCan CanCAN CAN I ALLA BREVECISSØVELSECountry WalkDari dariDeilig er jordenDET VAR EN GANG ET TROLLDu kjære lille snekkerbuDUR OG MOLL TREKLANGERDYNAMIKKØVELSEFISSØVELSEFløy en liten blåfuglFordFredagskosGammal fäbodssalmeGavotteGilde i ValhalGISS ØVELSEGodnatt-rimHans og Grete!Happy BirthdayHEI HÅHELNOTEØVELSE som DUETTHey hoe, digga joeHistorien om de tre små fiskHokus og PokusHujeda megHurra for degHvileviseIndisk silkeIntervallsangJag gör så att blommorna blommarJeg er så glad hver julekveldJEG HAR FANGET MEG EN MYGGJEG KAN SPILLE SAXOFONJULEKVELDsVISAKalinkaKamomilla spillerKarius og BaktusKiss me, Honey, HoneyKOM OG BLI MEDKVELDSSANG FOR BLAKKENLILLE FUGL MED VARIASJONERLille kattLille kattLirekassenLofottorskenLook at me I m Sandra DeeMange trær i skogen stårMatpakkespiseviseMatpakkespiseviseMIAMIN EGEN MELODIMin konsertdebutMin nye saxofonMorgenstemningMunnstykkeduettMustalainenNå tennes tusen julelysOde to JoyOKTAVKLAFFØVELSE D2oktavøvelseOrmen LangePølser herPuff den lille dragenRaiders MarchReodors Ballade fra FlåklypaROCKRondo a la turkaRYTMEØVELSESavannevisaSAXOFONEN MINSee you later, AlligatorsireneSkala 1, 2 og 3SNØFNUGGSpaniaSta PsilastigenSuper TrouperTEKNIKKØVELSETema fra GudfarenThe Silly Songtil parisTINGELINGTi små cowboyertrollmorTwelfth street ragVåren er kommetVed veien lå et husVi er allesammen vildeVI SPILLER NED TIL E OG Dzito Innhold CD/lyd: 1-2 Vi spiller ned til E og D3-4 Super Trouper5-6 Brandenburger Tor7-8 Ved veien lå et hus9-10 Mia11-12 Hokus og pokus13-14 Lirekassen15-16 Birgits nye hotell17-18 Historien om de tre små fisk19-20 Vi er allesammen vilde21-22 Savannevisa23-24 Ford25-26 All my loving27-28 Look at me I m Sandra Dee29-30 The silly song31-32 Country Walk (del to øvetempo)33-34 Country Walk35-36 Tema fra Gudfaren37-38 Bolla Pinnsvin39-40 Bjelleklang41-42 Jeg er så glad hver julekveld43-44 Mange trær i skogen står (variasjon 2 i øvetempo)45-46 Mange trær i skogen står47-48 Twelfth street rag (øvetempo)49-50 Twelfth street rag51-52 Indisk silkeCD/lyd spilles av: Voksne Herrers Orkester (VHO)Harald Dahlstrøm: keyboardSteinar Krokstad: trommerYngve Moe: bassThomas Dahl: gitarIda Linn Nonseid: vokalUnn Smelvær Høgelid: vokalRuth Nonseid: taleElisabeth Vannebo: tubaSolist: Kaja Holm RogstadSpilt inn i Grieghallen Studio. Lydtekniker: Davide Bertolini. Produsert av Davide Bertolini og Elisabeth VanneboKaja Holm RogstadBegynte å spille fiolin etter Suzukimetoden som 3 1/2 åring, men byttet etter hvert ut fiolinen med fløyte og deretter saxofon. Piano begynte hun å spille som 7-åring. Kaja har studert musikkpedagogikk og utøvende saksofon ved Norges Musikkhøyskole. Elevene hennes har deltatt i konkurranser og nådd høyt opp i sine klasser både som solister og i ensembleklassene. Kaja har selv deltatt i flere konkurranser og fått topp plasseringer. Hun har spilt i flere saxofonkvartetter og hatt en rekke spilleoppdrag både som solist og kammermusiker.Ragnhild Holm er en ledende saxofonpedagog som har oppnådd svært gode resultater med sine elever. De har markert seg med topp plasseringer i ulike konkurranser både som solister og i ensembleklassene. Mange elever har studert videre både innen klassisk saxofonspill eller jazz. Gjennom sitt virke som timelærer i saxofondidaktikk ved Norges musikkhøgskole siden 1987, har hun vært med på å utdanne mange saxofonpedagoger. Ragnhild er utdannet med saxofon og piano som hovedinstrument og spiller aktivt. Hun har arbeidet 25 år i musikkskole og underviser fremdeles i saxofon- og ensemblespill på Rud videregående skole.Elisabeth VanneboElisabeth Vannebo bor i Bergen og jobber som frilans musiker med tuba som hovedinstrument.Hun har turnert bl.a. for Rikskonsertene, Norsk Musikantbruk, Bæremeisen og Skolesekken. Hun har også jobbet som teatermusiker og studiomusiker og spiller fast i Duonova , Trekkspill tuba og TippeThue , Messingkvintetten Bris , Tupper med tuba og Teatertruppen . Elisabeth jobber mye med musikkformidling for barn, både som utøver og komponist. Hun arrangerer og komponerer musikk, og har bl.a. skrevet musikalen Fyrtøyet for korps. Hun var med å lage lærebokserien Midt i blinken , Slåttespill for blåsere og Primera . Hun er deltidsansatt i Bergen Kulturskole og har engasjement ved Ole Bull Akademiet og Griegakademiet.

Vi Spiller Piano 1, Carl Bertil Agnestig 

Fritz KROEPSCH: 416 ETUDES PROGRESSIVES - Volume 1 - 167 daily ExcercisesStudies for B-flat clarinet - ClarinetCotage: GB1812 ISMN or ISBN: M-043-01812-4Arranger:Jacques LANCELOT

Fifteen Duets for Tenor Horn Eb and Euphonium (Baritone) - Treble ClefA collection of 15 Duets  Composer : Derick KaneA great collecton of duets for Tenorhorn and Euphonium.Tuneful melodies and exciting parts create a wonderful book of duets for either concerts or just home practise.Each Duet is given a number : Duet 1, Duet 2, etc 

Yamaha synthetic tuning slide oil is a proprietary blend that's ideal for any slides that need to move quickly and easily, such as the 1st and 3rd slides on a trumpet. An added corrosion inhibitor gives extra protection to the instrument's metal. Tuning Slide Oil Yamaha - Trigger20mL bottle. 

Choir folder PU blackArticle no. F 1047Key Features:elastic hand holder, tailored comfort to different sizes of hands. elegant and clean looking in front of audiance when performingtwo transparent covers inside to hold the sheet music and can read through25,5*3*35,5 cm