Pauke Majestic Symphonic Grand Hammered Copper GR2300AH, 23, Cambered, Incl. Hand Fine Tuner & Cover

Viking AgeItem No. DHP 1175800-030The Viking age lasted from the late eighth, to the middle of the eleventh century. During this period, Scandinavian warriors and merchants explored, plundered and left their mark on numerous territories. This work is based on a series of four notes that appear in different forms, consisting of 4 movements: Northern Men, Explorer, Raids and Heritage. It is an impressive and spectacular piece, with lots of interesting and playful parts for all sections. This is a perfect contest piece or an outstanding work for thematic concerts.Composer: Thierry DeleruyelleInstrumentation: Brass BandPublisher: De Haske PublicationsSeries: Concert and Contest Collection Brass Band en FanfareLanguage: E(UK)DFNDifficulty: 3½Product Type: Set (Score & Parts)Duration: 0:10:40Year of Publication: 2017ISMN: 9790035236055

Concerto d'AmoreDHP 0950624-030In Concerto dAmore, a maestoso opening is followed by a quick and energetic movement that leads to a magnificent adagio. A motif from this adagio can be heard in a swinging movement, after which the piece comes to a close with the return of the adagio. This arrangement for concert band certainly brings this beautiful music to life.Composer: Jacob de HaanInstrumentation: Brass BandPublisher: De Haske PublicationsSeries: Inspiration SeriesDifficulty: 3Product Type: Set (Score & Parts)Duration: 0:07:19Year of Publication: 1995Size: A4 (297X210)  

UTOPIADESCRIPTIONUtopia is the name of a book written by the English author Thomas More and was published in 1516. The title is a word thought up by More himself, after the Greek language, meaning "Nowhereland" and leading to the invention of the words utopian scheme and utopian. Utopia pictured an ideal state on an island far from the inhabited world. This idea was the basis of the composition. It makes one think of Oregon in variety of themes and style. Utopia also exists of a combination of styles that breathe the atmosphere of film music. However, Utopia sounds less American. The slow and stirring middle part for example is closer to the European romanticism: the chord signals in the brasssection remind of Wagner's music.SPECIFICATIONSComposer Jacob de HaanInstrumentation Brass BandGrade of Difficulty 4Product Type SetYear of Publication 1994Instrument Group Brass BandGenre Original Light MusicGrade of Difficulty 4Publisher De Haske PublicationsYear of Publication 1994ISMN 9790035008287Series Inspiration SeriesBand Grade of Difficulty Grade 4No. DHP 0940582-030Definitive Duration 00:11:25

DESCRIPTIONThe Swiss canton of Valais is home to a number of wind and brass bands that regularly stand on the podium in Swiss and European competitions. For the general public, the Valais is above all a unique place, between the Rhône Glacier and Lake Geneva, where life is pleasant. The brass players of the five music associations of the villages of Crans-Montana an internationally renowned snow island were awarded the organisation of the 2024 cantonal festival, for which this work was commissioned.SPECIFICATIONSComposer Thierry DeleruyelleInstrumentation Brass BandProduct Type SetSeries Concert and Contest Collection Brass Band en FanfareBand Grade of Difficulty Grade 3,5Language E(UK)DFNPublisher De Haske PublicationsGenre Description Concert PieceYear of Publication 2024Definitive Duration 00:09:30ISMN 9790035255285Edition Number DHP 1246510-030

CORNIEUS, CHRISTOPHER BOND. BRASS BAND Corineus, in medieval British legend, was a prodigious warrior, a fighter of giants, and the eponymous founder of Cornwall. The first of the legendary rulers of Cornwall, he is described as a character of strength and power. It is on the medieval ruler that this new work, Corineus, is based, presented in three contrasting sections. The work opens with heraldic fanfares and a sense of jubilance before presenting musical material which changes and develops organically, portraying the journey taken by Corineus, Brutus, and the Trojans from modern-day mainland Europe to Britain. The central section of the work is slower, creating a feeling of longing. Brutus son, Locrinus, had agreed to marry Corineus daughter, Gwendolen, but instead fell in love with a German princess. In writing this part of the work, the composer portrays the longing of Gwendolen for her husband, knowing he is in love with somebody else. After Corineus died, Locrinus divorced Gwendolen, who responded by raising an army in Cornwall and making war against her ex-husband. Locrinus was killed in battle, and legend suggests that Gwendolen threw Locrinus lover into the River Severn. This dramatic battle provides the inspiration for the final part of the work. In writing this work, the composer hopes to flare the imagination of young brass players around the country, in an engaging new take on a firm fixture in British folklore. Premiered by Cory Band at the 2018 Festival of Brass, Manchester. Selected as the set-work for the Championship Section at the 2019 National Youth Championships of Great Britain.

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

JM001 Valve Oil Synthetic Light PistonA light synthetic valve oil, which was developed especially for instruments with still very dense piston valves. Enables a smooth, fast and even valve clearance.Features:for piston valveslight, synthetic valve oilespecially developed for new instruments with close tolerance piston valvesprotects against wear / corrosion and depositsodourless non-clumpingCO² / climate-neutral productionMade in GermanyContent: 50 ml

Drillstav Majestic 78.20, Twirling Baton Elegance, Chrome Plated, 50cm

INNOVATIVE MUSIC FOLDEREn utrolig smart notemappe! 20 sider med plass til 40 ark (for/bakside).Sidene er åpen i midten slik at man kan skrive direkte på noten uten å måtte ta dem ut av plasten.Du unngår lysrefleksjon fra plastomslaget.Lomme for navnelapp (2 lapper følger med)DESCRIPTIONInnovative Music Folder 'Standard' A4/40 good to know: for DIN A4 / 20 sheets (40 pages)SPECIFICATIONSInstrument Group GiftsProduct Type FolderBrand Agifty.AtYear of Publication 2021EAN 9006061019129Edition Number F 1019No. AGFTYF1019 

Alfred's Pop Quartets for All series is a versatile, educational, and fun series intended for like or mixed instruments to perform in any size group or combination of instruments. All books are in score format with each line increasing in difficulty from Grade 1 to Grade 3-4. Alternate passages and notation are included to suit instrumental ranges. With no page turns required, the songs and measures are consistent which makes finding rehearsal points quick and convenient. Perfect for concerts with family and friends, recitals, auditions, and festivals. Available for brass, woodwinds, strings, and percussion. Contents:Batman ThemeCelebrationGonna Fly Now (Theme from "Rocky")It Don't Mean a Thing (If It Ain't Got That Swing)James Bond ThemeJumpPeter Gunn (from "Peter Gunn")SmoothSummertime (from "Porgy and Bess")The Imperial March ("Darth Vader's Theme") (from "Star Wars: The Empire Strikes Back")Theme from "Ice Castles" (Through the Eyes of Love)We Are FamilyPublisher: Alfred USAISBN: 0739054589Item Code: 30717

Midt i Blinken 1 Klarinett m/cdHovedidéen bak denne boka er å lage en samling melodier som elevene blir glade i og spiller ofte. Vi tror den gode melodi gir inspirasjon og motiverer. Med lærerens veiledning og erfaring vil eleven gjennom denne boka utvikle seg både på instrumentet og rent menneskelig i samvær og samspill med andre. Besifring, kanons og duetter inviterer til samspill.Ikke glem leken; syng, dans, spill utenat, fargelegg, lag tekster og la elevene lære at musikk først og fremst er fint og godt, og ikke feil toner. Framhev det som er bra og la det være drivkraften.CD-en inneholder demoutgave og komp til 20 av sangene.