Trommeskinn Remo Powerstroke 77 Colortone P7-0313-CT-PU, Purple 13

DescriptionDark Abyss - Fredrick Schjelderup - 05:40' - BVT147Dark Abyss was written for Eikanger-Bjørsvik Musikklag for their Siddis Brass and Brass in Concert-program, 'Tales of the North Sea' in 2017.The piece describes the dark and unknown parts of the North Sea. The thematic material is dark and full of effects trying to imagine whats hiding down at the bottom of the ocean. Noter fra BVT kan alternativt leveres digitalt. Dersom det er digital versjon du ønsker istedetfor fysisk eksemplar, gi beskjed via kommentarfeltet i nettbutikken. Fraktutlegget i nettbutikken blir fjernet manuelt før vi belaster betalingskort eller fakturer ordren.

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

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

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 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.

FOR OPEN WRAP TENOR TROMBONE OR BASS TROMBONE WITH 9,5'' BELLPLEASE NOTE: These travel cases are made with our Standard Slide Case, which will fit up to a 32? slide.  If your slide is longer than that (up to 34.5?), you will need our Euro Slide Case.  If you need the Euro Case, please let us know in the customer notes section upon orderingCronkhite gig bager blir sydd på Torpedobag sin fabrikk i Minneapolis, USA.Materialet er skinn og er av svært god kvalitet. Baggene blir sydd på bestilling og minimum 3-4 ukers leveringstid må påregnes dersom varen er på fjernlager.This is the original Glenn Cronkhite-designed bag that dates back to the 1970s. Some of the original bags are still in use today! Made in the USA using only the finest 'Top Grain' leathers and durable 1000D genuine Cordura fabrics, you can be assured that your instrument is well protected in a well made bag.ProtectionAn inch of high-density foam surrounds your instrument.The exterior is made from either a top quality leather, or the best US-made genuine Cordura fabrics.DurabilityThis bag is famously known to last for decades without issues.Huge YKK main zippers.Solid brass rivets and T138 polyester threads for longevity.The finest metal and delrin hardware.CapacityOne instrument One zippered side pocket for convenient storage.IncludedOne 2 inch wide shoulder strap.DesignThis is the original Glenn Cronkhite design that dates back to the 1970s!It features perfect portability in a lightweight bag for easy transport wherever you are headed.ExteriorWe use only the finest top grain leathers. Choose from smooth black, pebbled black, a deep chocolate brown, cinnamon, or a stylish British Tan.Our 1000D Cordura choices include Black, Brown, Burgundy, Red, Dark Blue, Forest Green, Grey, and Tan.Our nylons are US-made genuine Cordura, which is one of the most durable fabrics ever invented. Its abrasive strength is unmatched, and is almost always considered Military Spec, when others arent good enough.RecommendationStudents and professionals who want the original (and still the best!) gig bag.

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

Drillstav Majestic 78.20, Twirling Baton Elegance, Chrome Plated, 55cm

Marinas mesterstykker En klaverskole helt utenom det vanlige! Marina Pliassova gir i denne fantastiske og kreative boken en morsom og instruktiv veiledning til klaverets vidunderlige verden og som leder nybegynneren over den første «terskelen» inn i utøverens verden. Krydret med korte, fyndige og opplysende kommentarer   samt med vakre illustrasjoner   gir boken en nødvendig baisiskunnskap for å spille klaver. Det forutsettes et tett samarbeid med en lærer, og nettopp her finner vi kanskje den viktigste grunnen til at fremstillingen virker levende: Fra første stund føres barnet inn i musikkens klang ved at læreren spiller varierte og kreative arrangementer sammen med eleven.Med Marinas mesterstykker 13 har Marina Pliassova skapt en spennende og instruktiv veiledning som fører den unge utøveren rett inn i klangenes fargesprakende verden.  Marinas mesterstykker 2 fortsetter der del 1 slutter og lar eleven bli kjent med kvalitetsstykker fra mange tidsepoker, tradisjoner og sjangere, både klassisk og moderne.«Min pedagogiske 240erfaring har vist at det å oppnå tilfredsstil­lende progresjon, stiller store krav både til lærer og elev, til tålmodighet og vilje til å jobbe med detaljer. Viktigst av alt er imidlertid at barna har glede av musikken. Mange barn har fått ødelagt musikk­­­s­­maken og gleden ved musikk gjennom å jobbe med feil repertoar. Barn bør vokse opp med musikalske perler fra alle epoker!» Marina Pliassova«Jeg skulle ønske jeg var barn igjen og kunne lære å spille klaver med Marinas mesterstykker!» Einar Steen-Nøkleberg, pianist og professor ved Norges musikkhøgskoleMarina Pliassova er utdannet pianist og klaverpedagog og arbeider i dag ved Barrat-Dues musikkinstitutt i Oslo. Hun er utdannet ved College of Art i Irkutsk og ved Statens musikkonservatorium i Novosibirsk. Marina har selv vunnet konkurranser i pianospill og har bred erfaring både som pianist og akkompagnatør; i dag er hun helt i tetsjiktet blant et knippe klaverpedagoger som stadig ser sin elever representert blant topplasseringene i nasjonale og internasjonale musikkkonkurranser. Foruten en stor gruppe russiske og norske barn og unge som har fått anledning til å stifte bekjentskap med klaveret gjennom Marinas fremragende pedagogikk, har hun i dag en rekke elever ved Talentskolen på Barrat-Due; hun holder masterklasser i inn- og utland; hun har et utstrakt samarbeid med pedagoger og pianister ved norske og utenlandske læresteder, og elevene hennes er stadig representert ved rekke konserter og festivaler, både som solister og kammermusikere.

 Soft HarnessFits most saxophonesComfortable neoprene design fits men, women and youthEasy to attach with a unique swivel hook or loop connectorMADE IN THE USAThe revolutionary Soft Harness from Neotech uses neoprene reinforced with an elastic support system which carries the burden of a heavy saxophone while enhancing the musicians freedom of movement.Product DescriptionA saxophone harness that is not only functional but extremely comfortable! The patented weight reduction system of the Soft Harness uses neoprene reinforced with an elastic support system which carries the burden of a heavy instrument while enhancing the musician's freedom of movement. Musicians no longer have to be restricted by confining harness designs. The Soft Harness is ideal for musicians in marching bands or individuals with back or neck problems. Available with our popular swivel hook or a nonmarring tubular nylon connection system that offers an alternative to a traditional hook attachment. The loop connector is extremely strong, yet easy on the instrument's finish.Swivel hookThe leading cause of hook breakage is when a hook lodges sideways against the instrument putting excess torque and pressure on it. Neotech's updated Swivel Hook engages snugly on the instrument's strap ring. It features an alignment pin in the snap mechanism for better rigidity and a molded "fin" that helps the hook remain in the proper vertical position. This design minimizes the chance of the hook becoming lodged sideways and keeps the weight and pressure on the hook in the proper playing position.Strenght: Hook breaks at about 125 pounds (56 kg).