Results
-
£30.00
Brass Braziliana - Brass Braziliana
The Samba has a special significance in Brazilian musical culture and it is symbolic of sheer joy and energy. Music is a mix of communication and energy and this work is designed to allow the players to generate that energy, thus communicating it to the audience. That infectious drive and musical energy will be a high point of any live performance or recording.
-
£30.00
Building on Sand - Jock McKenzie
This piece was composed with the intention of replicating some of the sounds of the New Orleans Brass Bands; particularly those whose music has a funky, riff-based edge to their sound e.g. the Hot 8, Rebirth, Dirty Dozen and Soul Rebels brass bands. As well as elements of the second line parade, the music also has a full-on, swing out section.
-
£30.00
Creature's Comfort - Jock McKenzie
This piece was written with the intention of being either an encore or end of set number; not a full-on technical 'tour de force' but rather a few minutes of 'comfort & chill' music consisting of a Blues / Gospel feel with a bit of Do-Wop thrown in for good measure.
-
£30.00
Dapperidoo - Jock McKenzie
The composition of "Dapperidoo" was inspired by the writing of P.G. Wodehouse and aims to create an ambience of humour and faux sophistication in the 1920's style. "Dapperidoo" is a nonsense word typically expressed by some of Wodehouse's more hapless characters.
-
£30.00
Deep River - Traditional
Deep River is a spiritual of Afro-American origin.
-
£30.00
Ding Dong Merrily on High - Traditional
The popular French tune of this carol first appeared as a secular dance named "Branle de L'Official". It appeared in 'Orchesographie', a collection of dances published in 1589 and written by Jehan Tabouret (pen name Thoinot Arbeau). The established lyrics were written by the English composer George Ratcliffe Woodward and first published in 1924; appearing in the Cambridge Carol Book.
-
£30.00
Django - Jock McKenzie
Django is inspired by the sounds of 'Hot Club Jazz'. The origins of this style also known as Gypsy Swing or Jazz Manouche were to be found in France in the 1930s. Indeed, the most famous group, based in Paris was the "Quintette du Hot Club de France" and featured in its ranks the legendary guitarist Django Reinhardt and violinist Stephane Grappelli. My composition Django seeks to provide a 'beginners guide' to some of the typical elements of this musical style: After a 'faux improvised' opening flourish, the main theme is in the characteristic minor key, including use of arpeggio figures to point the direction of the melodic line. The melodies throughout the piece are presented in a duet-like manner, spaced in intervals of 3rds and 6ths. The accompaniment based strongly around the minor 6th chords is designed to imitate the role of the rhythm section in a typical gypsy swing band.
-
£30.00
Espresso Street - Jock McKenzie
Musically this piece packs a real punch - with hints of Soca, Calyspo and Township. Definitely a piece that can be taken to the streets for a festival / party / parade / carnival etc. Just like the coffee, the duration of the piece can be adapted to suite the mood and need.
-
£30.00
Fantasia on themes by Purcell - Ian Shepherd
Fantasia consists of three distinct sections that use thematic material from three separate pieces by Henry Purcell. The first section is based on the march from Funeral Music for Queen Mary which is dramatically dark and powerful but also uplifting. The Second section uses the devastatingly beautiful aria Dido's Lament or When I am laid in earth from the opera Dido and Aeneas as its basis and builds to enormous proportions, unlike the original aria. The third section begins with a haunting reference to the Rondo from Abdelazer. Gradually, this builds towards an exciting re-statement of the theme in the first section to the finale.
-
£30.00
Flanfayre - Stephen Deazley
I was asked by Music for Youth to write a flexibly scored fanfare for the school proms at the Royal Albert Hall and at their National Festival in Birmingham in 2013. At its first performance at the National Festival, over 200 young brass players performed Flanfayre in Birmingham Town Hall, directed by Roger Argente, members of Superbrass and myself. The score is a progressive romp through some increasingly dance-like grooves, borrowing some of its swing from South America, from marches and big band, moving from a really quite straight opening to a "let-go" moment at the end. It is more like a flan full of different flavours, than a fanfare, hence the title. I set myself a challenge to write 100 bars but ended up with 102, which, after the introduction, can be broken down into 10 easily discernible sections each with their own mini-musical narrative. If you have time feel free to teach the audience the clapping groove. I also modelled the slow moving melody of the final section on the following words; "nothing beats a nice big cheesy, nothing beats a nice big cheesy, nothing beats a nice big cheesy, nothing beats a cheesy flan". Feel free to incorporate these too, and perform only under the strict instruction that you have fun ! - Programme Note copyright of Stephen Deazley