Concert Band - Level 3 - Digital Download

SKU: A0.1023643

Composed by Ben Ledochowski. Contemporary,New Age. Score and parts. 31 pages. Ben Ledochowski #6217581. Published by Ben Ledochowski (A0.1023643).

Far to the westernmost regions of Russia, and then farther still, there is a place known as the
Dancing Forest of Kaliningrad. It is a mysterious, otherworldly place where trees grow in tangles,
knots, and other unfathomable shapes, a place described by local psychics as a point of conflict where great positive and negative forces collide. Due to its remarkable air of mystery, the forest has woven its way into the legends and folklore of the region. My personal favorite legend about it goes as follows: The Prussian prince Barty used to hunt in these forests. Chasing a Roe deer one day, he
heard a wonderful tune, and as he came to a field, he saw a beautiful girl playing a lyre. She was a Christian and her name was Predislava. The prince proposed to her but she replied that she would marry only a man of her faith. Prince Barty agreed to become a Christian as long as she could prove the power of her invisible God was more powerful than the surrounding trees. Predislava played her lyre. Birds grew silent, and the trees started dancing. The prince then took a bracelet from his hand and gave it to her as a token of their betrothal. On this very spot, many years later, there grew the Dancing Forest.

This piece is my homage to the Dancing Forest of Kaliningrad and all its associated legends. Premiered by the Santa Teresa High School Concert Band in May 2019, the work is scored for a concert band of intermediate size and skill level and is designed to help introduce high school musicians to modal music and unconventional key signatures. Furthermore, the piece is inspired by multiple rhythmic and harmonic elements of rock and folk music in an attempt to help bridge the gap between popular music and contemporary wind ensemble repertoire. Enjoy!

Large Ensemble - Level 3 - Digital Download

SKU: A0.522105

Composed by Zubir Said (1907-1987). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 34 pages. Colin Kirkpatrick Publications #3241855. Published by Colin Kirkpatrick Publications (A0.522105).

Colin Kirkpatrick’s

National Anthems Express

SINGAPORE:  Malujah Singapura (Onward Singapore)

This quick and easy national anthem arrangement is essential for travelling musicians, bands, instrumental groups and both amateur and professional ensembles. You can play it with any virtually any combination of instruments: symphonic band, clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything!

This arrangement is in six independent parts each transposed into a variety of keys. For the most satisfying sound, you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. The piano reduction can fill missing parts or can be used as the basis for an accompaniment.

This arrangement consists of a three-page score with seven instrumental staves and three percussion staves. The following parts are printed on separate pages. The score and all the parts are contained in the same pdf file.

Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (flute, piccolo, oboe, glockenspiel, violin); Part 1 in E flat (alto sax, E flat clarinet); Part 1a in C (octave above concert for flute, piccolo, oboe, violin) and Part 1a in E flat (E flat cornet in brass band).

Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 2 in C (violin); Part 2 in E flat (alto sax); Part 2a in C (octave above concert pitch) flute, oboe, violin); Part 2a in B flat for clarinets; Part 2a in E flat (minor 3rd below concert for E flat alto clarinet).

Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone, bassoon); Part 3 in C alto (alto clef for viola); Part 3 in E flat        (tenor horn, alto sax); Part 3 in F (French horn);  Part 3a in B flat (8ve below concert for 3rd clarinets in band).

Part 4 in B flat (tenor sax, baritone); Part 4 in C (bass clef for trombone, euphonium, bassoon, cello); Part 4 in E flat (tenor horn, alto sax); Part 4 in F (French horn).

Part 5 in B flat (baritone); Part 5 in C (bass clef for trombone, euphonium, bassoon.

Part 6 in B flat (B flat bass, bass clarinet); Part 6 in C (bass clef for bass trombone, bassoon, contrabassoon, tuba, double bass); Part 6 in E flat  (E flat bass, baritone sax). There’s also a part for timpani, percussion (3 players) and a piano reduction.

The music is presented in pdf files at 1,200 dpi which can produce professional-looking printed copies on US letter-size paper.

The arranger, Colin Kirkpatrick studied at London’s Royal College of Music and followed a career in music education. He was a High School Music Director for about fifteen years and later became a Music Education Adviser, with the added responsibility for training teachers and directing the instrumental teaching service.

He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA.

 

Concert Band - Level 4 - Digital Download

SKU: A0.891956

Composed by A.E.Williams. Arranged by Stephen Davies. 20th Century,Standards. Score and Parts. 74 pages. Stephen Davies #6094485. Published by Stephen Davies (A0.891956).

   CLARINET CONCERT CONCERTINO FOR WIND BAND

I don’t normally enter long descriptions of my arrangements, nothing worse than seeing that little sign on the bottom right saying ‘see more’, however this piece has a rather interesting story that I’d like to share with you!

It was maybe 8 or 9 years ago that I helped in the library of the Band Of The Guards Association, a group of musicians who were all members of the Household Division Bands
in London, that is to say the Grenadier, Coldstream, Scots, Irish, Welsh, Life Guards and Blues & Royals bands, chiefly known the world over for Changing The Guard at Buckingham Palace and many other ceremonial occasions.

The Band Of The Guards Association were privileged to rehearse at the Royal Hospital Chelsea, home of the famous Chelsea Pensioners, renowned for their Redcoats and medals as veterans of the British Army. Our library of music for the band at the time was held in an air raid shelter deep in the cellars underneath the labyrinthine corridors of the old building built by Sir Christopher Wren back in the 1680’s.

When I say ‘air raid shelter’, that is exactly what it was like! Can’t go into too much detail, but suffice it to say that it was like being transported back in time!

But this is where the library was kept, complete with dusty shelves, blackout warnings, obsolete bulb replacements and tunnels to the Thames!

The man in charge of the library was Mr.Gordon ‘Joe’ Stafford, former Solo Clarinet with HM Band Of The Welsh Guards (ret’d), a fine player of that instrument in his day, and revered as such even now.

About 8 years ago, our ‘underground ‘ library was deemed a fire hazard, and we were ‘invited’ to move it elsewhere.

As we had our practice room nearby in the Chelsea Hospital, we decided to relocate the whole library there, shelving being built and constructed by enthusiastic band members.

Joe Stafford and myself were not particularly enthusiastic about this, but it had to be done. Having looked at the enormous amount of music to be moved, we thought about ditching some of the scores which would never be played again, for instance selections of musicals long forgotten, scores with multiple missing parts etc.

Lots of that music went to local music organisations simply for sight reading purposes, and the more complete versions went to bands and orchestras to bolster their stock of scores.

After the laborious sorting out in the air raid shelter, Joe and I had the unenviable task of discarding the scores and parts that were incomplete, defaced, or just basically useless.

It was an arbitrary case of ‘keep or throw’, and at the time we were doing this, Joe was desperate for a pint in the bar!

I agreed, and was anyway on my last batch of throwaways when I found a piece titled ‘Clarinet Concerto’, by A.E.Williams.

Written in pencil, with ancient sellotape, and signed by all the people who played it many years ago, including the Soloist and composer, I thought that that should not be binned, so I kept it!

Joe Stafford suggested that I should ‘get it out there’ , so I have. Incidentally it has a cracking Cadenza towards the end, it was a bit smudged in the original score, but I’ve filled in the gaps!!

This would be an ideal addition to the band repertoire for Clarinet!

Concert Band - Level 2 - Digital Download

SKU: A0.1025077

Composed by Aric Noble. Contemporary,Folk. Score and parts. 10 pages. Aric Noble #5306619. Published by Aric Noble (A0.1025077).

Over the past few years I have become obsessed with Norse Mythology, and I mean real Norse Mythology. I say that with
quotes because in my research I realized that a lot of people tell different stories. This is mainly because back when Christianity was growing,
the Christians saw anything that wasn't Christian as pagan, so they got rid of it all. So that is why Greek, Roman, and Norse religions faded into mythologies, and 
all that was left was passed around in folk tales. And also because Marvel tells a very different tale of the mythology than the research I have collected and I want people to know these stories. 

Now moving passed the history lesson and into the music. This is interesting for me because this is the biggest original piece
 that I've ever made. This is going to be a multimovement piece, and this is the 1st movement, Ginnungagap, the endless void. 
This movement describes The Void, and the two lands of Fire(Muspelheim) and Ice(Niflhiem).

Starting with The Void, it describes the blackness, and I use the absence of instruments to give this feeling, but however to give
2 of the other themes to foreshadow it.  It moves into this wild cascading theme for the Niflheim theme to describe the cold cascading environment of the world.

After that it slows into a dark and ominous theme for Muspelheim(Surtr's Destiny). This was an interesting part to make 
because in mythology, Surtr, also referred to as Surt,  is the fabled fire giant who destroys Asgard. No one knows where he
comes from, but from the moment of his creation, he knew of his destiny to destroy Asgard so he spent all of his time 
forging his sword to burrow into Asgard.  I used a break drum to symbolize a hammer hitting an anvil to forge a sword,
a lingering sound of Surtr's destiny.

After this, I brought both themes together to resemble The Clash of the two worlds to create the Norse universe.

The final theme in this first movement is entitled I am Ymir. In myhtology, Ymir is the father of everything. Created from the 
clash, he gave creation to all the gods, humans, giants, elves, and dwarves. This final theme takes Surtr's theme and flips
it to be mo.