Spiriti, Thomas Doss. Brass Band

The Patriots - Jan de HaanDESCRIPTIONThe Dutch patriottentijd (literally Time of the Patriots) was a period of political instability in the 1780s. The country was led by regents who were occupied with their own personal interests rather than dedicating themselves to the needs of the people. In this revolutionary period, the devoted republican Patriots were in conflict with the Orangists. A civil war followed, in which the Patriots were beaten and driven away by a Prussian army. This composition is an abstract piece inspired by the Patriots. The thematic material is based on the Dutch war song Merck toch hoe sterck. Its powerful minor melody, which has its origins in the Eighty Years War, isrecognizable throughout the work, presented in variations of constantly shifting character.SPECIFICATIONSSubtitle Symphonic Fantasia for Brass BandComposer Jan de HaanInstrumentation Brass BandGrade of Difficulty 4,5Product Type SetYear of Publication 2019Instrument Group Brass BandGenreView Description Concert PieceGrade of Difficulty 4,5Publisher De Haske PublicationsYear of Publication 2019ISMN 9790035242674Series Concert and Contest Collection Brass Band en FanfareBand Grade of Difficulty Grade 4No. DHP 1196149-030Definitive Duration 00:14:15

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

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

UpMute DescriptionThe UPMUTE practice mute gives a feeling of freedom and total control of the whole register and the intonation, from the lowest pedal tones until the highest register.Following the UPSOUND philosophy, UPMUTE is not just a practice mute; it improves the development of your sound quality and richness. Thanks to its perfect amount of resistance, it offers a great focus and centre in the sound, stabilizing day to day a great deal of frequencies and creating homogeneity in the associated harmonics.It gathers the five essential requirements:INTONATIONMINIMUM RESISTANCE TO THE AIR FLOWSOUND QUALITYVERY SOFT, IT DOES NOT DISTURBLIGHTWEIGHT AND EASILY TO CARRY AROUND in most bagsJust perfect!IMPORTANT: To put in or take out your mute, just pressure it against de bell or pull it out WITHOUT turning it, since it could cause premature wear of the rubber joinAvailable for trumpet, Spanish cornet, French horn, tenor trombone and bass trombone 

Hvordan Spille Moderne Trommesett, Ernst Wiggo Sandbakk, m/CDErnst Wiggo Sandbakk:Fra bokas forord:Etter å ha undervist trommeslagere i flere år, og underveis gransket markedet for aktuelt undervisningsmateriale, har jeg funnet at behovet for et norsk undervisningsopplegg for trommesett er stort. Dette har iverksatt meg med utarbeidelse av det materiale som nå foreligger.Hvordan spille moderne trommesett er et undervisnings- opplegg som kan sammenfattes under følgende punkter:· egner seg for nybegynnere.· vil fylle tomrom hos den viderekomne· egner seg til selvstudium· kan brukes til undervisning. Den er lagt opp slik at den også kan følge Kjell Samkopf's utmerkede "Praktisk Trommeskole del 1A, 1B, og del 2".· er et komplett opplegg for utvikling av koordinasjon mellom armer og bein.· har naturlig progresjon. Starter med enkle rocke-takter som steg for steg utvikler uavhengighet og ferdigheter i notelesning.· er en guide i dagens mest benyttede stilretninger. Presenterer de fleste typer rock, disco, shuffle, rocke-swing, jazz-swing, bossa-nova, samba, reggae, new-wave, punk, vispeteknikk, solo-øvelser samt en del tekniske øvelser.Hvordan spille moderne trommesett er en grundig innføring i trommesettspill, hvor den grunnleggende ide har vært å presentere anvendbare og praktiske ting. Det meste av innholdet i denne boka vil før eller senere komme til nytte hos en ivrig trommeslager.  

Mute Baritone Practice Denis Wick 5536 AluminiumDescription:Denis Wick practice mutes are perhaps the best teaching aid ever invented. Not only do they fulfil the need for the IN TUNE painless practice, so essential in the development of every young player and an indispensible 'hotel mute' for the professional, but they also possible an enormous improvement in tone quality using the entire vital capacity as a vibrating air column by opening the throat spaces through playing loudly in the low register. 

ERGOBRASS FOR TRUMPETAfter years of world wide success from our first innovation, the ERGObone for trombone players, the ERGObrass Ltd now proudly brings to the markets our innovation for every trumpetist and cornetist, the ERGObrass trumpet support. It is a new auxiliary device for all trumpet players which gives the player a more comfortable, effective and healthy way of playing the trumpet.The general idea of ERGObrass supports is based on a simple fact that all brass instruments are heavy to hold. We all know that relaxation is very important in brass playing. However, holding the instrument in playing position inevitably produces a static tenson in hands, arms, shoulders, upper body and throat.Most players can play with this tension, of course - but the tension is always there disturbing the performance.By using an ERGObrass support every brass player can stay totally relaxed while playing. And in addition to the better efficency, it is also very comfortable!DescriptionThis full set includes an attaching fastener with the eye bolt for the Quick Attaching Fastener to be placed onto the horn, a support rod with the Quick Attaching Fastener, a spring mechanism with disc lock, 38 cm support tube, rubber plug and screws and the belt pocket. It enables you to use the ERGObrass support device while sitting on a chair or while standing or walking.Check the video (YouTube) how to install and use the new ERGObrass trumpet support fastener.Related products:Additional fastener counterpart for trumpet, 3 piecesTelescopic-Extension-SetAdditional fastener counterpart for trumpetAdditional plate for Rotary Valve trumpet 

Digitalsett Roland TD-07DMK, Komplett m/Padder, Modul og RackstativKit configuration :Kick: KD-2, Snare: PDX-8, Hi-hat: CY-5, Hi-hat control pedal: Half-open stroke detectable, Tom: PDX-6A x 3, *2 Crash: CY-5, Ride: CY-5, Drum stand: Four-post type rack standDrum kits: 50 (25 Preset -User 25)Instruments:143Effect Types: Pad Equalizer: each pad, Overhead Mic Simulator,Room, Multi-Effects: 1 system, 30 typeCoach functions: (5 modes): Time check (easy) Time check (hard) Quiet count Auto up/down,Change-upMetronome: Tempo (20--260) Rhythm type (5 types) Sounds (15 types)Bluetooth : Supported standards: Bluetooth Ver 4.2 Supported profile: A2DP (Audio), GATT (MIDI over Bluetooth Low Energy) Codec: SBC (Support to the content protection of the SCMS-T method)Display:16 characters x 2 lines LCD (with backlightConnectors: OUTPUT/PHONES jack: Stereo miniature phone type MIX IN jack: Stereo miniature phone type USB COMPUTER port: USB B type TRIGGER INPUT connector: DB-25 type  (Kick, Snare, Tom 1, Tom 2, Tom 3, Hi-hat, Crash 1, Crash 2, Ride, Hi-hat control )USB COMPUTER: Speed: Hi-speed USB Driver mode: Generic, Vender Protocol: USB MIDI, USB Audio 3USB Audio: Sampling Rate (original): 44.1 kHz Sampling Rate (with sampling rate converter): 96 kHz, 48 kHz Record: 2 channels Playback: 2 channels Power Supply :AC adaptor (DC 12 V)Current draw: 250mAWEIGHT :18.0 kg / 39 lbs 11 oz*Stortrommepedal kommer i tillegg.  

GEWA GUITAR GIG BAG BASIC 5High quality Cordura 600 DenierTearproof and water resistantAll carrying parts reinforced5 mm High-Density foam rubber paddingBody area with additional side protection, zipperOptimised handle for children's handsSewn-on, continuous rucksack strapLarge music sheet/accessory pocketFluff-free honey comb interior, anthraciteSewn-in additional protection in machine head and bridge areaStitched GEWA-logoBlack