Results
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£29.95
Silver Star (Brass Band - Score and Parts) - Steadman-Allen, Ray
The title of this march, published in 1962, refers to the pin originally given to the mothers, but now also the fathers, of cadets entering The Salvation Army's Schools for Officer Training. It includes the song, 'Mothers of the Silver Star' (words by Arch. R Wiggins, music by George Marshall) which was specially written for the first occasion at which Silver Stars were presented. Also included is a Salvation Army flag song, 'Yellow star, and red and blue' also written by the aforementioned Wiggins and Marshall.
Estimated dispatch 7-14 working days
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£14.95
Silver Star (Brass Band - Score only) - Steadman-Allen, Ray
The title of this march, published in 1962, refers to the pin originally given to the mothers, but now also the fathers, of cadets entering The Salvation Army's Schools for Officer Training. It includes the song, 'Mothers of the Silver Star' (words by Arch. R Wiggins, music by George Marshall) which was specially written for the first occasion at which Silver Stars were presented. Also included is a Salvation Army flag song, 'Yellow star, and red and blue' also written by the aforementioned Wiggins and Marshall.
Estimated dispatch 7-14 working days
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£59.99Tochter Zion (See the Conquering Hero Comes) (Brass Band - Score and Parts) - Handel & Tchaikovsky - De Haan, Jan
Tochter Zion, also known as See the Conquering Hero Comes, is the most famous chorus from the oratorio Judas Maccabaeus (1746) by the composer George Frideric Handel (1685-1759). The heroic epic based on the Biblical story about commander-in-chief Judas Maccabaeus, was used by Handel to celebrate the English victory over the rebellious Scottish. The first performance of this patriotic work - written in the pleasing, rich baroque style that Handel's music is known for - was conducted by himself; the success was huge. The chorus See the Conquering Hero Comes was added later, in 1748, drawn from another oratorio (Joshua).Duration: 2:30
Estimated dispatch 7-14 working days
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£25.00Pure Imagination (from Willy Wonka and The Chocolate Factory) (Trombone Solo with Brass Band - Score and Parts) - Littlemore, Phillip
The 1971 film musical Willy Wonka and The Chocolate Factory starred Gene Wilder in the title role. The music was written by composer/actor Anthony Newley, with lyrics provided by Leslie Bricusse, for which it received an Oscar nomination for Original Song Score. There are several well-known songs from the film, but perhaps the most famous is Pure Imagination, which is sung by Willy Wonka as the five children and their parents enter the Chocolate Room in Wonka's factory. It has been arranged as a trombone solo and has a simple jazz-like accompaniment. Duration: 3:00
Estimated dispatch 7-14 working days
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£59.95The Plantagenets (Brass Band - Score and Parts) - Gregson, Edward
A Symphonic Study for Brass BandThe Plantagenets was Gregson's first major test piece, written specially for the 1973 National Brass Band Championships.In this ambitious symphonic study he turned his attention to music which sets out to create a mood or atmosphere, in contrast to his earlier brass band works such as Essay and Partita where the underlying concerns are technical rather than expressive. However, Gregson is at pains to emphasise that The Plantagenets is not programme music. 'Symphonic' is the optimum word here. In its textural and harmonic complexity, its rhythmic and melodic variety, this was his most ambitious brass band piece so far. His language, with its roots in Hindemith and Bartok is further enriched here with the expressive language of Holst and Rachmaninov.As he says in his notes on the work: The Plantagenets attempts to portray the mood and feelings of an age - that of the House of Plantagenet which lasted from the middle of the twelfth century to the end of the fourteenth. To many it conjures up an age of chivalry and this is represented by fanfare motifs which occur throughout the work in varied form.Characteristically, the composer then goes on to describe not the atmosphere or mood he is trying to convey, but the means by which the music has been composed: the opening fanfares, based on the interval of the third, generating the musical material for the whole work; an exposition of two themes - one fanfare-like, one lyrical (on horns); a slow episode introducing a new melody on solo horn (answered by cornet and euphonium in canon); a little scherzo, fugal in character; and a recapitulation leading to a maestoso statement of the slow movement theme with a final reference to the fanfares as a triumphant conclusion.Duration: 11.30
Estimated dispatch 7-14 working days
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£29.95
The Plantagenets (Brass Band - Score only) - Gregson, Edward
A Symphonic Study for Brass BandThe Plantagenets was Gregson's first major test piece, written specially for the 1973 National Brass Band Championships.In this ambitious symphonic study he turned his attention to music which sets out to create a mood or atmosphere, in contrast to his earlier brass band works such as Essay and Partita where the underlying concerns are technical rather than expressive. However, Gregson is at pains to emphasise that The Plantagenets is not programme music. 'Symphonic' is the optimum word here. In its textural and harmonic complexity, its rhythmic and melodic variety, this was his most ambitious brass band piece so far. His language, with its roots in Hindemith and Bartok is further enriched here with the expressive language of Holst and Rachmaninov.As he says in his notes on the work: The Plantagenets attempts to portray the mood and feelings of an age - that of the House of Plantagenet which lasted from the middle of the twelfth century to the end of the fourteenth. To many it conjures up an age of chivalry and this is represented by fanfare motifs which occur throughout the work in varied form.Characteristically, the composer then goes on to describe not the atmosphere or mood he is trying to convey, but the means by which the music has been composed: the opening fanfares, based on the interval of the third, generating the musical material for the whole work; an exposition of two themes - one fanfare-like, one lyrical (on horns); a slow episode introducing a new melody on solo horn (answered by cornet and euphonium in canon); a little scherzo, fugal in character; and a recapitulation leading to a maestoso statement of the slow movement theme with a final reference to the fanfares as a triumphant conclusion.Duration: 11.30
Estimated dispatch 7-14 working days
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£37.95Benvenuto Cellini (Brass Band - Score only) - Berlioz, Hector - Wright, Frank
Berlioz's opera Benvenuto Cellini was first produced in Paris in 1838 but was withdrawn as a failure, and it was not until the production in Dresden in 1888 that it was finally acclaimed by the Germans as a triumph. Adapted from certain episodes recorded in the memoirs of Benvenuto Cellini, Tuscan sculptor and goldsmith, the story, laid in Rome during the mid-sixteenth century, is not strictly historical. The short opening Allegro, marked deciso con impeto, is conceived in the most brilliant Berlioz manner, utilising full instrumentation. In the Larghetto we meet at once the first of the opera themes - the Cardinal's aria (from the last act) introduced in the bass, quasi pizzicato. A second melody leads to a resumption of the Allegro, the contrasting second subject in the tenor horns being an adaptation of Teresa's aria (Act I). Towards the end the Cardinal theme is re-introduced by trombones, fortissimo against an energetic cornet and euphonium passage (senza stringendo - without hurry, says the score). After a unison passage storming skywards, there is a sudden, dramatic three-bar silent pause broken by Eb basses alone, again stating the Cardinal theme. A simple molto crescendo on the dominant, begun piano, leads to the long, resounding chord.
Estimated dispatch 7-14 working days
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£82.95Benvenuto Cellini (Brass Band - Score and Parts) - Berlioz, Hector - Wright, Frank
Berlioz's opera Benvenuto Cellini was first produced in Paris in 1838 but was withdrawn as a failure, and it was not until the production in Dresden in 1888 that it was finally acclaimed by the Germans as a triumph. Adapted from certain episodes recorded in the memoirs of Benvenuto Cellini, Tuscan sculptor and goldsmith, the story, laid in Rome during the mid-sixteenth century, is not strictly historical. The short opening Allegro, marked deciso con impeto, is conceived in the most brilliant Berlioz manner, utilising full instrumentation. In the Larghetto we meet at once the first of the opera themes - the Cardinal's aria (from the last act) introduced in the bass, quasi pizzicato. A second melody leads to a resumption of the Allegro, the contrasting second subject in the tenor horns being an adaptation of Teresa's aria (Act I). Towards the end the Cardinal theme is re-introduced by trombones, fortissimo against an energetic cornet and euphonium passage (senza stringendo - without hurry, says the score). After a unison passage storming skywards, there is a sudden, dramatic three-bar silent pause broken by Eb basses alone, again stating the Cardinal theme. A simple molto crescendo on the dominant, begun piano, leads to the long, resounding chord.
Estimated dispatch 7-14 working days
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£35.00Music Through The Ages - Steve Robson
A fun and educational collection of 7 pieces created by Steve Robson, with optional narration, providing a time-travelling journey through the history of 2000 years of music to the present time.Originally written for Stanhope Youth Band, the piece has now been well received by other youth bands far and wide. The complete work offers great flexibility too, as te movements can be used as stand-alone items or as a full concert performance, offering players and audiences an insight to the evolving styles of Music Through The Ages.Movements include:FanfareThe Passing of the VIth Legion A Patrol - Imagining the sound of the Roman Legion at Vindolanda (AD84)The Journey of St Cuthbert - A Plainchant (995)The Honorable Robert Shafto MP - Late Baroque Style (1749)The Very Capable Mr Mozart Classical Style - Rondo (1786)Sans Pareil March - Tribute to Timothy Hackworth and George Allan (1913)The Angel of the North - Contemporary composition (Present day)Watch a full performance below of the pieces, including narration. This was a collaborative performance project, presented by members of different youth bands from across the North East on Saturday 13 November 2018 in the Theatre at Ushaw College, Durham.(NB: The piece Galliard, performed at 12mins 22secs into the video, was specially written for the concert and is not included in this collection.)Look and Listen (with thanks to all participating youth bands and supporting players):Set includes score (with narration), separately bound narration (enable a choice of either compere/conductor presentation) and parts including:Cornet 1Cornet 2Corent 3FlugelhornEb Tenor Horn 1Eb Tenor Horn 2Baritone 1Baritone 2Trombone 1Trombone 2Bass TromboneEuphoniumEb BassBb BassTimpaniPercussionAdditional world parts also provided include F Horn 1, F Horn 2, Trombone 1 in Bass Clef, Trombone 2 in Bass Clef.
Estimated dispatch 7-14 working days
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£30.00Pure Imagination - Leslie Bricusse/Anthony Newley arr. Phillip Littlemore
The 1971 film musical Willy Wonka and The Chocolate Factory starred Gene Wilder in the title role. The music was written by composer/actor Anthony Newley, with lyrics provided by Leslie Bricusse, for which it received an Oscar nomination for Original Song Score.There are several well-known songs from the film, but perhaps the most famous is Pure Imagination, which is sung by Willy Wonka as the five children and their parents enter the Chocolate Room in Wonka's factory. It has been arranged as a trombone solo and has a simple jazz-like accompaniment.Duration: c. 3'00"Difficulty: Suitable for all (band accompaniment)
Estimated dispatch 5-7 working days
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