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Category: LIGHT CONCERT MUSIC Composer: Terry Johns
Duration: 11:00 minutes
The composer, who lives and works at the edge of the Forth Estuary in Edinburgh, has been inspired here by the intriguing “tap” dance that the gulls perform on the grass at certain times to encourage worms to break the surface. The middle movements describe the birds’ “dancing” in flight, with a waltz and a slow soaring melody. The piece was written for the CO-OP Glasgow Brass Band on the occasion of their winning the Scottish brass band championship in 2009 and was broadcast on BBC Scotland’s “Classics Unwrapped” in November of that year.
Percussion: 3 Players playing timpani, snare drum, triangle,suspended cymbal, bass drum and crash cymbals
Categories: LIGHT CONCERT MUSIC, SALVATIONIST MUSIC Composer: Eric Satie Arranger: Brian Bowen
This is a transcription for brass band of the first, and most well-known, of Erik Satie's three Gymnopedies for piano which were composed in 1888. All three are similar melodically and pianistically. However, the first and last are more well-known, partly due to the later orchestrations by Debussy. Tenor Horn and Eb Bass mutes are requested by the arranger and will enhance the transcription if available.
Category: LIGHT CONCERT MUSIC Composer: Erik Satie Arranger: Leigh Sharpe
Duration: 3′ 00″
The Gymnopédies by Erik Satie are three piano compositions of extraordinary beauty.
Gentle, eccentric pieces which defied the classical tradition.
The name Gymnopédie is thought to be a reference to Satie’s joke at a party when, concerned by his lack of formal qualifications, on being asked his profession, he replied Gymnopaedist – which means – ‘naked athlete’.
Category: LIGHT CONCERT MUSIC Composer: Erik Satie Arranger: Philip Littlemore
Duration : 3.10
Erik Satie's Gymnopedies are a series of three short piano pieces that were first published in 1888. These atmospheric pieces, all written in 3/4 time and sharing a common theme and structure, are recognised the world over and are his most famous compositions.. Gymnopedie No.1 is divided into two almost identical parts, with a steady accompanying rhythm of crotchet-minim, crotchet-minim (short-long, short-long) that remains constant throughout - with the exception of the last two bars of each part! This gently lilting background supports an expressive melodic line which creates the occasional dissonance, yet seems impressively tension free.
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