Born in South Africa but now an Irish citizen Kevin Volans? musical idiom has been shaped by an unusually diverse range of experiences including studies with Stockhausen in Cologne field trips to South Africa tostudy traditional music his own involvement with the New Simplicity movement his collection of contemporary art and African textiles friendships with composers like Morton Feldman and Gerald Barry as well as a love of virtuosopiano music which he performs broadcasts and records. While having an easily recognised unique voice Volans? music resists compartmentalisation. He is as comfortable working in conventional genres as embarking oninnovative collaborations with artists of other disciplines. String Quartet No.1 (White Man Sleeps) was written for the Kronos Quartet and was first performed by them in July 1986 London.The title?White Man Sleeps? comes from a moment in nyanga Panpipe music where the performers leave off playing their loud pipes for a few cycles and dance only to the sound of their ankle rattles to let the whitelandowner sleep for a minute or two.'In composing this piece I drew from the following sources: the first movement owes something to the style of Basotho concertina music; the second and fourth movements are drawnfrom traditional Nyungwe music played by Makina Chirenje and his Nyanga panpipe group at Nsava Tete Mozambique recorded and transcribed by Andrew Tracey (to be found in an article entitled ?The nyanga Panpipe dance? in AfricanMusic Vol.5 No.1 (1971); the third movement derives from the San bow music (recorded by Tony Traill of the University of Witwatersrand) and from Basotho lesiba music transcribed by myself; in the fifth movement I added my owninvented folklore. My approach to the original music was anything but purist it is played in Western tuning filtered slowed down by a few ?time-octaves? cast into non-African metres (like the 13-beat pattern of the first

Easy Music for Strings - Grade 2. Par . This iconic traditional Irish medley shines in this accessible arrangement by Larry Moore. Moore's cut-time version begins in G major and modulates to A major for the final section, providing much-needed experience with C-sharps and G-sharps! / Date parution : 2022-12-12/ Répertoire / Ensemble de Cordes

The merger of the first Nation and modern Albertan cultures-Drums of the Saamis was commissioned by the Medicine Hat Concert Band Society of Medicine Hat Alberta Canada. The piece chronicles the merger of the First Nation (first natives) and modern Albertan cultures.The opening tribal drums followed by the haunting melody simulating the traditional wooden flute comprise two themes that are the foundation for the entire piece. Both elements are developed varied and enhanced throughout as the listener senses the increasing influence of modern day Alberta through the use of modern sounding chords and rhythms.By the end the marriage of the old and the new is complete. This powerful work closesas it began; a restatement of themes representing the musical and historical foundation of the region. Dur: 5:00

Britten's Irish Reel was composed in 1936 as title music for a documentary film made by Marion Grierson and Evelyn Spice. Around the Village Green was made for the Travel and Industrial Development Association, which explored the changes to rural life in East Anglia after the increased mechanisation of agriculture. In his incidental music, Britten incorporated a riotous medley of folk songs and other traditional tunes (including 'Early One Morning', 'The Vocar of Bray', and Sheild's 'The Plough Boy'), many of which were suggested to him by the Norfolk-based composer E.J.Moeran.

Although this haunting tune has the flavor and sentiment of a traditional Irish folk song it was composed in 1995 by multifaceted artist Pádraigín Ní Uallacháin. Her inspiration for the song was the idea that when we are happy or sad the elements and the natural world are aligned with our feelings. From the wistful lyrics of the song; Down by the river there's a tall willow tree who weeps all night for you and me. This evocative setting for band follows this sentiment through peaks and vallys of sound and emotion. Dur: 3:10

Influenced by the traditional Cuban dance style Danzon is a brilliant piece composed by Leonard Bernstein in collaboration with famed choreographer Jerome Robbins for the 1944 ballet Fancy Free.Jay Bocook's skilled adaptation for band captures the sensual mood of the original and offers a unique programming choice.

Par ARNOLD MALCOLM. Darrell Jones says 'Arnold has in the new work invoked traditional rhythms but again the musical matter is his own. The second of the dances has a misty and reflective character but the other three are vintage boisterous Arnold, vividly illustrating his gift for bouncy rhythms and fine melodies, and his massive sense of fun. Chronicle and Echo 15th August 1966 / Niveau : Assez Facile / Répertoire / Conducteur

This impressive work by Samuel Hazo begins and ends with a unifying dramatic and powerful fanfare theme. In contrast the middle section is built around faster and modern-sounding rhythms and harmonies while incorporating traditional melodies (including a hint of Bach's Jesu Joy of Man's Desiring) lending a unique and timeless quality to the music.Commissioned as a tribute from one band director to his predecessor this is a rewarding and effective work for today's bands.

Par SWEENEY MICHAEL. Based on traditional tunes dating back hundreds of years, Michael\'s masterful rhapsodic setting utilizes a wide variety of styles and moods. Taking the listener on a dramatic and emotional journey, the featured melodies include: Return from Fingal, Lord Mayo, The Yellow Bittern, Captain O\'Kane, Song of the Chanter, and Behind the Bush in the Garden. Dur: 6:35 / Date parution : 2022-07-23/ Répertoire / Concert Band

Par BALAZS ARPAD. Árpád Balázs (*1937) composed the first version of the work between 1994 and 1996 for tárogató and concert band. Since this traditional Hungarian instrument is rarely found in ensembles abroad, a soprano saxophone can serve as an alternative solo instrument. The composer uses melodies from the early 18th century, from the age of Rákóczi's war of independence. An ambitious framework is given to the work by the reminiscing, solemnly flowing brass chorus, which is built of the motives of the folk song Oh, Rákóczi, Bercsényi (Hej, Rákóczi, Bercsényi). As a contrast serves then Panna Czinka's ancient ''violin lament''. Following this, in a pierced-work-like fashion, the folk song The dew of green forest (Zöld erdo harmatát) comes in, then, as the culmination of the work, the well-known, wild Kuruc dance of Csínom Palkó appears. In conclusion, Kuruc Pictures is a tastefully constructed, finely harmonised and orchestrated orchestral tableau. / Date parution : 2023-06-01/ Répertoire / Concert Band et Saxophone Soprano

An American Folktune Setting for Concert Band-One of the most distinctive characteristics of this traditional Appalachian folk song is the jazz-like use of occasional ?blue? notes in the melody and harmony. This setting effectively explores the many instrumentalcolors and textures of the modern concert band yet it maintains the simplicity and beauty of the original melody. Dur: 3:40 (Grade 4)

Commissioned by the Richardson (TX) Community Band Silver Celebration commemorates 25 years of service by their conductor George Jones. The work combines elements of traditional march style with the bravura of epic film scores resulting in a piece that is both festive and celebratory in nature. The opening is a rousing 6/8 march featuring various sections of the band and exciting cross rhythms and then contrasted with a beautifully flowing lyric statement. A brief percussion feature leads to the final section recapping the opening themes with a flourish and dramatic appeal.

In this dynamic multi-style overture for band Michael Sweeney opens with stark percussive hits brass fanfares and swirling woodwind effects. A fast tempo and long build follows using non-traditional harmonies and overlappinglayers of sound climaxing with a majestic soaring statement by the entire ensemble. The slower middle section features a solo flute accompanied by rich sonorities and counterlines. The fast tempo returns initiated by thepercussion section and then recurring earlier themes as the pieces drives to a satisfying finish. With variety and pacing this is a perfect choice for contest or festival. Dur: 5:20

You'll hear the flavor of traditional Irish sounds along with contemporary concert band scoring in this rich and exciting work from Douglas Akey. The 8th note remains a constant thread as the pieces weaves through rapid timesignature changes lilting melodies and driving rhythmic patterns. The slower middle section features a flowing horn melody and richly scored accompaniment figures. An accelerando and modulation lead to the energetic finalsegment in this dynamic and well-scored composition. (5:20)

Score and Parts-This traditional Appalachian carol adapted or re-written by John Jacob Niles has been arranged for a full Concert Band by Michael Brown. Presented here in full score and parts the arrangement represents a wonderful addition tothe festive repertoire of any young concert band.