Who's next?, David Well. Concert Band

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

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

Visions of KolkhisComposer: Tom DavorenDuration: 6:00Grade/Difficulty: 5Visions of Kolkhis was commissioned by Jason Katsikaris and the Leyland Band as a finale for their appearance at the 2009 Brass in Concert Championship Inspired by Jason Katsikariss Greek lineage, the subject of the work could be considered a metaphor for his impact on the British brass band scene, and the Leyland Bands commitment to striving for excellence.Written in thee continuous sections, the work paints a vivid picture of the island of Kolkhis, a place instrumental in so many tales in Greek mythology. The music represents three individual stories; Jason and the Argonauts, the Golden Fleece, and the liberation of Prometheus by Hercules. However, musical material is drawn from the Leyland Bands signature march, Harold Mosss The Royal Tiger, named after the bus made by Leyland Vehicles in the 1950s.

DescriptionA Stroll in the Park is a piece in the tradition of "walking" music (such as the Promenade from Mussorgsky's Pictures at an Exhibition or Gershwin's Walking the Dog from Shall we Dance). It strives to describe the joyful benefits of a relaxing walk in a city park on a summer Sunday afternoon and should be played in a relaxed, carefree and laidback manner.SpecificationsComposer Philip SparkeProduct Format Score & PartsInstrumentation Brass BandProduct Type SetSeries Debut Series (Anglo)Grade of Difficulty 2,5Band Grade of Difficulty Grade 2,5Publisher Anglo Music PressGenre Description Original Light MusicYear of Publication 2008Definitive Duration 00:04:20No. Pages 6ISMN 9790570297962Edition Number AMP 208No. AMP 208-030

EARTHRISE (BRASS BAND - SCORE AND PARTS)Publisher: Studio MusicComposer: Clarke, NigelSeries: Major WorkCode: M050086949 Details Earthrise is the name of one of the most iconic photographs in history. The original NASA image numbered AS8-14-2383 was one of a series of photographes taken by William Anders and the Apollo 8 crew on 24 December 1968 during the first manned mission to the moon. Earthrise is written in one condinuous movement but divided into three sections.Duration: 16:15Suitable for Championship Section Bands

KORG TM70TCombo Tuner Metronome i sort finishTM-serien, et banebrytende konsept med en kombinert tuner og metronom, kan skilte med et bredt utvalg funksjoner og enestående synlighet, og er det ultimate tuning- og rytmetreningselementet for blåse- og strengeinstrumenter.Den nyeste modellen, TM-70T, hever det originale konseptet ytterligere, noe som gjør det enklere å bruke enn noen gang. Den er ikke bare liten nok til å passe i lommen, men har en ny skjerm med forbedret synlighet, og en ny transponeringsfunksjon (F, Bb, Eb), noe som gjør den til den ideelle partneren for enhver musiker. Lydkvaliteten på metronomen og lyden ut er også forbedret slik at den er lett å høre selv i støyende omgivelser.Kvaliteten, hastigheten og nøyaktigheten til tuningen, som er avgjørende for enhver ytelse, har også blitt forbedret.TM-70T er fullstendig «Made in Japan», noe som er et vitnesbyrd om Korgs stolthet og forpliktelse til kvalitet som ledende innen tuner/metronomverdenen i mange år.Spesifikasjoner:Utstyrt med høypresisjons tunerfunksjon og metronomfunksjon. De to funksjonene kan brukes samtidigEt bredt deteksjonsområde av C1C8 støtter et bredt spekter av instrumenterLCD nålemåler med utmerket følsomhet og synlighetNylig utstyrt med en transponeringsfunksjon som gjør det mulig å bytte mellom i F, i B? og i E? i tillegg til kromatiskForbedret skjerm for bedre synlighet, samtidig som den reduserer størrelsen på TM-70Forbedret metronom, lyd ut og tilbakelyd for enda klarere lydKalibrering er justerbar for å matche ulike konserttonerMarkering for å indikere rene dur- og moll-tersintervallerSound Out-modus og Sound Back-modus er gode måter å trene øret påMetronomen har et bredt tempoområde fra 30 til 252 slag/minutt. Velg mellom tre typer tempoinnstillinger og 15 rytmevariasjonerLang batterilevetid på opptil 250 timerPraktisk minnebackup-funksjon og automatisk avslåingsfunksjonSammenleggbart stativ gjør at enheten kan stå aleneUniversell design med ikoner for hver funksjonSort og hvit fargevariasjonerLaget i Japan for høyeste kvalitetskontrollSeparat solgt CM-400 kontaktmikrofon gir enda høyere tuningpresisjon

Slagverk Sonor 150th Anniversary Signature Shells Set, Bubinga/Beech w/Gold HardwareFusing Legacy and modern TechnologyThe original SONOR Signature Series was introduced at the Frankfurt Musikmesse in 1980. It was the result of extensive scientific research commissioned by SONOR in the pursuit of building the most sonically and technically advanced high-end drum set of its time. The extremely deep and heavy 10.5mm beechwood shells were designed for the most unobstructed drum head vibration, resulting in the purest tone with the most resonance and projection. To say that the Signature Series raised the bar for high-end drums would be an understatement. It defined what high-end drums were supposed to be from that point on.The 150th Anniversary Signature Series Shell Sets are more than just a reissue of the original from the 1980s. They are a tribute which merges tradition and innovation by combining a replica of theSignature Series shell with contemporary state-of-the-art shell hardware features.To faithfully recreate the iconic Signature Series shell, 13 plies of selected German beech veneer are cross-laminated. As with the original, genuine Bubinga is used for the outer and inner ply of the shell. The stunning grain structure, various color shades and dark streaks of the Bubinga Pommelé (Guibourtia demeusii) used for this instrument add even more visual dimension. To emphasize the naturally grown beauty of the Bubinga veneer, the shells are finished with clear high gloss lacquer, which is applied in multiple lacquering and polishing stages by hand. All hardware on the drums is plated with 24-carat gold to offset the dark and saturated brown color of the veneer as well as create the ultimate luxurious experience. Finally, all drums receive individually numbered commemorative badges to certify the uniqueness of each 150th Anniversary Signature Series Shell Set.The 150th Anniversary Signature Series Shell Set is strictly limited to 75 pieces worldwide. 25 of which are made in the Heritage outfit featuring authentic Signature Series shell depths, whereas the remaining 50 use shallower, more contemporary depths. SONOR SIGNATURE Shell Set: - SKU: 11004321 - 22"x16" Bass Drum with Mount - 10"x07" Tom w/T.A.R Mounting System with AcousticGate to finetune the drums sustain- 12"x08" Tom w/T.A.R Mounting System with AcousticGate to finetune the drums sustain- 14"x13" Floor Tom - 16"x15" Floor Tom - 14"x8" Snare Drum - DTH 675 MC G Double Tom Holder - Limited to 50 pieces worldwide

Trommeskinn Evans Calftone TT14C7, 14Calftone drumheads bring a natural aesthetic and vintage sound to modern drum sets. EVANS Calftone heads are made using a 7mil Mylar base, blended with unique materials, to create a synthetic which embodies the classic warm, full, and rich tone of real calfskin. This head has a balanced attack, medium bright character, and moderate sustain. This synthetic calfskin head also features Level 360 Technology.

12 kjente Julesanger arrangert for Trekkspill av Rolf SyversenDeilig er JordenDet Kimer nå til JulefestDu grønne, glitrende tre, goddatEt barn er født i BethelhemGlade JulHer kommer dine arme småI denne søte juletidJeg er så glad hver julekveldJeg synger julekvadKiemr, I klokkerO, Jul med din glede

1 C HT (Hybrid Terra) - Handcrafted guitars - Classical - Student - AlhambraAlhambra Guitars is once again a pioneer and launches the first hybrid guitar on the market, the new 1 C HT (Hybrid Terra) model. This 1 C HT (Hybrid Terra) model is ideal for beginners who want to learn how to play the guitar, with 10% lighter weight and a perfect finish  Like all the Alhambra models, it is handcrafted and made with selected woods. Solid cedar has been used for the top and Sapelli for the sides and back.The finish is carefully chosen to offer an elegant and different instrument. In addition, it comes with nickel-plated tuning pegs, rosewood fingerboard and a maple binding that define a beautiful and stylish guitar.A new environmentally friendly varnishing system has been developed, achieving an improvement in the carbon footprint of 66% and a reduction in CO2 emissions of 90%.ComfortThe string action and the choice of nickel silver frets make the 1 C HT (Hybrid Terra) model very comfortable and a perfect model for beginners who want to learn how to play the guitar.This comfort, combined with the sound and a nice aesthetic appearance, rewards the efforts of the student of this art.Alhambra soundAlthough the 1 C HT (Hybrid Terra) model is an instrument designed especially for students, it is a guitar with volume and a high capacity to define the sound.Both the saddle and the nut are made of melamine, a synthetic material that is highly sound-transmitting and contributes to achieving a round and defined sound.In short, the 1 C HT (Hybrid Terra) model is a student guitar with very good features that will gain in sound the more you play it.FeaturesTOP: Solid Red CedarSIDES & BACK: MahoganyNECK: Mahogany. ErgoneckFINGERBOARD: Indian RosewoodMACHINE HEADS: Nickel PlatedBINDING: Only on topOptionsSIZES: (1/2), Cadete (3/4) and Señorita (7/8)EZ Fishman Clasica IILeft handedCase 9730