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£49.95Malcolm Arnold Variations (Score Only)
MALCOLM ARNOLD VARIATIONS was commissioned by Philip Biggs and Richard Franklin for the 20th All England Masters International Brass Band Championship held in the Corn Exchange, Cambridge on 25 May 2008. The work is dedicated to Anthony Day, long time carer of Sir Malcolm Arnold in his final years. I first met Malcolm and Anthony in 1990 and remained in constant touch until Malcolm's passing in 2006. Anthony, of course, remains a friend and plays his own role subliminally in this piece. The work is not based on any of Malcolm Arnold's own themes, rather it is a portrait of him (and by association Anthony Day) through my eyes and as a result of my friendship with both parties over some 18 years. If there is any theme as such it is the personalities of the players, the protagonist and his carer placed together by my own efforts coloured and influenced by aspects of Arnold's style and technique without recourse to direct quotation but through allusion and parody. It is of course designed as a brass band test piece but in my eyes is first and foremost a musical challenge. The pyrotechnical elements are there but always secondary to the musical thrust of the work's structure. I have long beforehand submerged myself in Malcolm Arnold's music and ultimately delivered this tribute. Music Directors will be advised to acquaint themselves with the composer's personal music, particularly the film scores, symphonies, concertos and ballets: the solutions towards a successful interpretation of my piece are all in there - and YES, I want, and sanction, this piece to be interpreted, and therein lies the challenge for those of you 'up front'! The challenge for players is that of virtuosity, ensemble and careful attention to where they are individually in relation to their colleagues - a question of balance, taste and insight. With regard to tempi, as is my usual custom, I have indicated all metronome marks with the prefix circa. I would suggest that the fast music is played at these tempos but that the more rubato moments can be allowed some freedom in expression and fluidity of line. With regard to the type of mutes to be employed - this decision I leave to the discretion of players and conductors. Structurally the work is cast as an Introduction, 20 Variations and a Finale. Some variations are self contained, others run into each other as sequences in the same tempo. In other variations, segments are repeated and developed. I could describe the overall concept as a miniature ballet or a condensed film score - there is much drama and character and the repeated elements assist this in driving the action forward. I have deliberately avoided the more extremely dark qualities of Malcolm's own music in this, my celebration of this master-composer, as I have always viewed (and evidenced by my previous Masters scores Tristan Encounters and Chivalry) that the Cambridge contest is a 'sunshine- affair' and firmly believe that Malcolm Arnold would have had it no other way too!
Estimated dispatch 7-14 working days
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£89.95
Infinity (Brass Band - Score and Parts) - Redhead, Robert
In the post-modern age in which we live, 'absolutes' are difficult for many to comprehend. Yet infinity, which means absolute, total, all-embracing, having no limits or boundaries in time, space, extent, or magnitude, has always been central to the Christian's concept of God.Through the ages, as human understanding has grown, particularly at a remarkable rate from the latter part of the twentienth century, Christianity has been continually challenged to interpret traditional beliefs in the light of new discoveries, but always within the reality of the infinite Being. In addition, scripture tells us that 'humanity was made in God's image'. Humankind is part of God's creation and as such, responsible for its upkeep. Such a commission has never been more relevant than in this present age. Psalm 8 creates a great picture of the majesty, eternal, infinte quality of God and yet reveals the desire of God to share in spirit with humankind. It recognises humankind as being, not a tool of the infinite, but as a creative contributing part of the ongoing movement and activity of the infinite. The music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality. It is not based on the Psalm but reflects some of the sentiments lying therein. The 'hymn-like' theme expresses the nature of the Divine using the Old Testament image of the infinite God coming to finite humankind, not in the 'wind', the 'earthquake', the 'fire', but in the 'still small voice' of quietness (1 Kings 19: 11-13). The ensuing musical development, in different styles and patterns, expresses this continual link between infinite and finite. Thus the conclusion, rather than being a symbol of might, power and magnificence, reflects the same sentiment as the opening.
Estimated dispatch 7-14 working days
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£44.95
Infinity (Brass Band - Score only) - Redhead, Robert
In the post-modern age in which we live, 'absolutes' are difficult for many to comprehend. Yet infinity, which means absolute, total, all-embracing, having no limits or boundaries in time, space, extent, or magnitude, has always been central to the Christian's concept of God.Through the ages, as human understanding has grown, particularly at a remarkable rate from the latter part of the twentienth century, Christianity has been continually challenged to interpret traditional beliefs in the light of new discoveries, but always within the reality of the infinite Being. In addition, scripture tells us that 'humanity was made in God's image'. Humankind is part of God's creation and as such, responsible for its upkeep. Such a commission has never been more relevant than in this present age. Psalm 8 creates a great picture of the majesty, eternal, infinte quality of God and yet reveals the desire of God to share in spirit with humankind. It recognises humankind as being, not a tool of the infinite, but as a creative contributing part of the ongoing movement and activity of the infinite. The music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality. It is not based on the Psalm but reflects some of the sentiments lying therein. The 'hymn-like' theme expresses the nature of the Divine using the Old Testament image of the infinite God coming to finite humankind, not in the 'wind', the 'earthquake', the 'fire', but in the 'still small voice' of quietness (1 Kings 19: 11-13). The ensuing musical development, in different styles and patterns, expresses this continual link between infinite and finite. Thus the conclusion, rather than being a symbol of might, power and magnificence, reflects the same sentiment as the opening.
Estimated dispatch 7-14 working days
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£10.00
Infinity (Brass Band - Study Score) - Redhead, Robert
In the post-modern age in which we live, 'absolutes' are difficult for many to comprehend. Yet infinity, which means absolute, total, all-embracing, having no limits or boundaries in time, space, extent, or magnitude, has always been central to the Christian's concept of God.Through the ages, as human understanding has grown, particularly at a remarkable rate from the latter part of the twentienth century, Christianity has been continually challenged to interpret traditional beliefs in the light of new discoveries, but always within the reality of the infinite Being. In addition, scripture tells us that 'humanity was made in God's image'. Humankind is part of God's creation and as such, responsible for its upkeep. Such a commission has never been more relevant than in this present age. Psalm 8 creates a great picture of the majesty, eternal, infinte quality of God and yet reveals the desire of God to share in spirit with humankind. It recognises humankind as being, not a tool of the infinite, but as a creative contributing part of the ongoing movement and activity of the infinite. The music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality. It is not based on the Psalm but reflects some of the sentiments lying therein. The 'hymn-like' theme expresses the nature of the Divine using the Old Testament image of the infinite God coming to finite humankind, not in the 'wind', the 'earthquake', the 'fire', but in the 'still small voice' of quietness (1 Kings 19: 11-13). The ensuing musical development, in different styles and patterns, expresses this continual link between infinite and finite. Thus the conclusion, rather than being a symbol of might, power and magnificence, reflects the same sentiment as the opening.
Estimated dispatch 7-14 working days
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£89.95
INFINITY (Brass Band Set) - Robert Redhead
In the post-modern age in which we live, 'absolutes' are difficult for many to comprehend. Yet infinity, which means absolute, total, all-embracing, having no limits or boundaries in time, space, extent, or magnitude, has always been central to the Christian's concept of God.Through the ages, as human understanding has grown, particularly at a remarkable rate from the latter part of the twentienth century, Christianity has been continually challenged to interpret traditional beliefs in the light of new discoveries, but always within the reality of the infinite Being. In addition, scripture tells us that 'humanity was made in God's image'. Humankind is part of God's creation and as such, responsible for its upkeep. Such a commission has never been more relevant than in this present age. Psalm 8 creates a great picture of the majesty, eternal, infinte quality of God and yet reveals the desire of God to share in spirit with humankind. It recognises humankind as being, not a tool of the infinite, but as a creative contributing part of the ongoing movement and activity of the infinite. The music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality. It is not based on the Psalm but reflects some of the sentiments lying therein. The 'hymn-like' theme expresses the nature of the Divine using the Old Testament image of the infinite God coming to finite humankind, not in the 'wind', the 'earthquake', the 'fire', but in the 'still small voice' of quietness (1 Kings 19: 11-13). The ensuing musical development, in different styles and patterns, expresses this continual link between infinite and finite. Thus the conclusion, rather than being a symbol of might, power and magnificence, reflects the same sentiment as the opening.
Estimated dispatch 7-14 working days
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£10.00
INFINITY (Brass Band Study Score) - Robert Redhead
In the post-modern age in which we live, 'absolutes' are difficult for many to comprehend. Yet infinity, which means absolute, total, all-embracing, having no limits or boundaries in time, space, extent, or magnitude, has always been central to the Christian's concept of God.Through the ages, as human understanding has grown, particularly at a remarkable rate from the latter part of the twentienth century, Christianity has been continually challenged to interpret traditional beliefs in the light of new discoveries, but always within the reality of the infinite Being. In addition, scripture tells us that 'humanity was made in God's image'. Humankind is part of God's creation and as such, responsible for its upkeep. Such a commission has never been more relevant than in this present age. Psalm 8 creates a great picture of the majesty, eternal, infinte quality of God and yet reveals the desire of God to share in spirit with humankind. It recognises humankind as being, not a tool of the infinite, but as a creative contributing part of the ongoing movement and activity of the infinite. The music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality. It is not based on the Psalm but reflects some of the sentiments lying therein. The 'hymn-like' theme expresses the nature of the Divine using the Old Testament image of the infinite God coming to finite humankind, not in the 'wind', the 'earthquake', the 'fire', but in the 'still small voice' of quietness (1 Kings 19: 11-13). The ensuing musical development, in different styles and patterns, expresses this continual link between infinite and finite. Thus the conclusion, rather than being a symbol of might, power and magnificence, reflects the same sentiment as the opening.
Estimated dispatch 7-14 working days
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£179.50Myte - Myth - Torstein Aagaard-Nilsen
Commissioned by Radoy Brass for their 20 years anniversary.This version was first performed by Manger Skulemusikklag in 2005.The Work is devided into Five Scenes:1. Sverdet (The Sword) 3:452. Advarsel - fra en vis mann (Warning - from a Wise Man) 2:303. Dragen (The Dragon) 3:004. Advarsel II - fra syngende fugler (Warning II - from singing birds) 1:355. Gull - forbannelsen (Gold - The Curse) 2:50Total durata 13:30This work is based on five scenes from the tale about "Sigurd Favnesbane" (Sigurd the dragonslayer). Moods and atmospheres in the piece represent my way of retelling the old myth.1. The SwordThe dwarf blacksmith Regin is hammering and sharpening the edges of the magical sword Gram. After three attempts the sword is finally sharp enough to kill a dragon. 2. Warning - from a Wise manRichard Wagners opera Sigfried is based on the same story. In the opera the hero get warned by a wise man. He tells the secret of how to survive an attack of the dragon by hiding in a hole in the pathway and then kill the dragon with the sword as thedragon passes on its way to the river to drink water.3. DragonThe Dragon (Favne) guards a fantastic treasure, but he is also the brother of the blacksmith Regin. Favne get killed and his blood flows slowly while he laments (trombone/bass trombone).4. Warning II - from singing birdsWhile frying the heart, Sigurd burns his thumb and put it into his mouth to cool it down. Then he swallow a drop of fresh magic dragon blood which transfers the ability to understand the birdlanguage. The birds sing warnings to Sigurd telling himthat Regin will betray him and later kill him. Sigurd then kills Regin instead.5. Gold - the CurseSigurd takes the gold treasure and escapes on the horseback of Grane. But his robbery of the gold lead him into trouble: The gold is banned and a curse will hit everyone whotakes it...Myth is a programmatic work where the story is quite clearly illustrated throughout the piece:In the first movement you can hear the blacksmith working with hammer on ambolt while the heat is intense from the glows. The dwarf has got his own theme i lower brass (bar 4-5). The hero Sigurd has his own identifying chord (2 bars before F). Thechord is also a symbol of the sword.In the second movement the warning from the wise man is expressed in the lyric bass line.The airblow in instruments illustrate the dragon Favne on his way out of his cave, and later the blood flows slowly. The dragon takes his last deep breath after a painful duet in trombones. The birds sing their motifs (lightly, but not cheerfulthough), until Sigurd cuts the head off Regin and it hits the ground.The last movement describes the atmosphere andstate of mind as the curse infects the obsessed thief.
Estimated dispatch 5-14 working days
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£74.99
The Universal Band Collection - Jacob de Haan
A collection of 5 short works in pop style which can be performed by any kind of compilation. The titles can be presented on the programme as separate works but the Universal Band Collection can also be performed as a complete suite. From a didactic point of view it is a suitable work to teach musicians something about the structure in music. For this purpose not only the big structure but also the small structure was kept very clear.Western Girl : A girl from the west of the USA rides her horse across the prairie, dreaming of her future. The rough structure: introduction - theme in a blues scale - the same thing in a different instrumentation - finale.Just a ballad : A balladin pop style with a rough A-B-A form. First there is the introduction of the main theme (A), then follows a tenor melody in minor with a rhythmical reference to the main theme (B). Finally there is the main melody, performed tutti with a different rhythm in the drums (A').Play the Game : An English saying meaning: play fairly. Playful music in up-tempo with a wink to China, where almost all games are manufactured nowadays. Once again an A-B-A structure here.San Diego : A Mexican fugitive enjoys his freedom in America but also remembers his place of birth with melancholy. A sad minor melody with a straight trendy beat appears twice. The second time it has a slightly different instrumentation, in which the muted trumpets represent the Mexican feeling.Final Dance : Eventually there is a dance with an introduction in renaissance style, followed by a fast dance in rock style. All this composed in a classical song structure: introduction, verse, bridge, chorus, shortened verse, bridge, chorus, chorus.
Estimated dispatch 5-14 working days
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£119.99The Binding of the Wolf - Torstein Aagaard-Nilsen
This piece was commissioned by Nordhordland Brass Seminar in 1990 and written for a youth band. The title referes to a story from norse mythology. "The Binding of the Wolf" is not a programmatic piece of music, but I felt that there was a kind of coherence between the music and the dramatic story: "...The wolf Fenrir was one of the demonic offspring of Loki, and as he grew up in Asgard among the gods, he became so huge and fierce that only Tyr was willing to feed him. It was decided that he must be bound, and Odin in his wisdom caused the cunning dwarfs to forge a chain which could not be broken. It was made from the invisible and yet potent powers ofthe world, such as the roots of a mountain, the noise of a moving cat, the breath of a fish. When completed, this chain seemed to be no more than a silken cord, but the wolf refused to let it be laid upon him unless one of the gods would put a hand between his jaws as a pledge that it was harmless. Only Tyr was prepared to do this, and when the wolf found that the chain was unbreakable, the gods rejoiced, but Tyr lost his hand. The binding of the wolf may be seen as a means of protecting the world of men, as well as that of the gods, from destruction. The story of the god losing his hand appears to be one of the fundamental myths of nothern Europe..."
Estimated dispatch 5-14 working days
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£74.99
Durkle Bandrydge Suite - Bruce Fraser
Durkle Bandrydge is the name of the composers imaginary world, but it could very well be anyones invisible dream world with a different name. In this very versatile suite by Bruce Fraser, 8 characters are featured, each with its ownpeculiarities, making Durkle Bandrydge such a colourful place. Do these characters differ that much from us? That is for you to find out! In the last part, all characters come together in a special way.Durkle Bandrydge exists at the end ofyour street. It is invisible to humans, but Durkle Bandrygators can watch us with great interest. The music will introduce you to some of the characters who live in this unusual place. The parts: Somnanbulyss, who is a giant trollguarding the entrance to Durkle Bandryde. At least, he is supposed to, but he tends to sleep most of the time. His music is therefore very slow moving and sleepy. Long Gwysteen is a tall, mysterious, and somehow sophisticated character,who walls around with a shell on his back. His music glides along rather gracefully. Squelfitch is a rather unpleasant and smelly character who lives in a bog, which is why his music sounds rather slimy and a bit like trying to walkthrough quicksand. Perfydlia is a meddling old woman, who gossips about everybody and squeals with sudden delight at the small exciting bits of tittletattle about others in the village. In the music you can hear her sudden little squealsof delight. Maryann Lovely is a beautiful young lady, graceful, gorgeous, absolutely devine, and her music is obviously just the same. Thistledoo Nicely is a lively character who spends and spends and spends with her credit card,buying the latest fashion and never worries about having to pay the bills. Her music reflects her excitement when shopping and het 'happy go lucky' approach to life. Marsyn Edginton is the Lord of the manor, the richest man in town, the'big cheese', the man with all the power and, of course, the biggest house. He is very grand and his music like he could be a king. Jimmy McScotsmyn is a red haired scotsman wearing tartan cap. He misses his home country terribly and eatslots of shortbread, oatcakes, scotch eggs, porridge and drinks an enormous amount of Scotch Wisky, which helps him to have fond memories of the kind of music he would like to dance to when he was a younger man. His favourite dance is a Jig andthis is the music he remembers. Grand March of the Durkle Bandrydgators. We hope that you have enjoyed meeting these characters from Drukle Bandrydge and would invite you to listen to all the villagers now march along in a grand parade -it is a pity that you can not see them, what is a wonderful sight. If you listen carefully, you will hear the melodies which belong to the characters as they march past. Oh what a grand spectacle!
Estimated dispatch 5-14 working days
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