Results
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£113.00Lovea Magic With a Capital M - Frode Rydland
Imagine an extravagant magic show at Caesar's Palace in Las Vegas. All shows like this feature great superstars as guest artists. For instance, it can be Celine Dion and Josh Groban who enters the stage for a duet...Love... Magic with a capital M is a ballad for an imaginary magic show where the great stars are flugelhorn and trombone.A bit different stage setup, a bit of choreography, a bit of singing and a lot of sweet music!The Choir parts are intended to be sung by the band. But if your concert features a choir, you may add the choir to this performance.This music was written for Norwegian band Eikanger-Bjorsvik Musikklag for their winning program "MAGIC!", performed at the Norwegian equivalent to Brass in Concert, Siddis Brass in 2019.
Estimated dispatch 5-14 working days
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£29.95Temperamental - Jonathan Bates
DURATION: 3'30". DIFFICULTY: Difficult. 'Temperamental' was composed as the opening item to the Reg Vardy Band's 2019 Brass in Concert Championships programme, which revolved around the 4 temperaments of Human Nature - a theory by the Greek philsopher Galen from 450 BC. This funk-inspired short concert work is deliberately very schizophrenic in nature, encompassing all 4 moods and feelings into the music and featuring a number of soloists from within the band, notably the Flugel Horn, Solo Trombone and Percussion section. .
In stock: Estimated dispatch 1-3 days
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£45.00strange geometry
Descriptionstrange geometrywas commissioned by Morgan Griffiths and the Hammonds Saltaire Band for their performance at the Brass in Concert Championships of 2015.As a bit of a space/sci-fi geek, as well as a musician, two events during the summer of 2015 had a particular effect on me. The first was the tragic early death in a plane crash of the famous film composer James Horner. Horner's music, particularly in films like 'Star Trek II: The Wrath of Khan', 'Avatar', 'Apollo 13' and even his debut in Roger Corman's 1980 budget film 'Battle Beyond the Stars', defined for a generation the sound of sci-fi at the cinema. Along with John Williams he created the vocabulary for those who wish to express other-worldly wonder in music and his inventive talent will be much missed in an industry where originality has become something of a dirty word in recent years.The second event was the epic flyby of Pluto by the NASA New Horizons spacecraft. There are many reasons to find this mission inspiring - for example, the scientists and engineers behind it created a craft that has travelled at 37,000 mph for nine years and three billion miles to arrive within seventy-two seconds of the predicted time for the flyby. That they achieved this with such accuracy is an outstanding tribute to humanity's ingenuity and insatiable curiosity. However, the most exciting aspect of the mission was the clear, high resolution pictures of this unthinkably remote and inhospitable world beamed back to mission control. The best previous image of Pluto was an indistinct fuzzy blob - suddenly we could see mountains made of ice, glaciers of methane and carbon monoxide and nitrogen fog - features previously unimagined on a world thought to be a slightly dull ball of cold rock. The BBC's venerable astronomy programme 'The Sky at Night' waxed lyrical about these newly discovered features, referring to "the surprising discoveries of mountains and strange geometry on the surface of this cold distant world".I like to think that Horner would have been as inspired as I have been by this real-life science story, and this piece uses some of the vocabulary of the sci-fi movie soundtrack in a tribute to the memory of a great musician and to the inspirational geeks at NASA who have boldly taken us where no-one has gone before.Note: This work comes with a B4 portrait score. Listen to a preview and follow the music below!Performance Notes:The cornet section should play this piece standing up in a roughly semicircular arrangement around the outside of the band facing towards the audience, starting with solo cornets 1&2 to the conductor's left (roughy behind the normal repiano cornet seat) then 2nd cornets, repiano, soprano, 3rd cornets and finishing with solo cornets 3&4 standing roughly behind the normal 2nd trombone seat. If time and logistics permit, the trombones should occupy the first three solo cornet seats, although this is optional. A suggested band layout (with percussion) is given here.Solo cornets 1&2, repiano cornet, 2nd cornets, 3rd cornets, flugel, solo and 1st horn, 1st baritone and euphoniums will require fibre straight mutes - ideally NOT metal ones. Soprano cornet, all solo cornets, 3rd cornets and all trombones will require cup mutes - ideally the cornet mutes should be the adjustable cup type and these should have the cup adjusted quite tight to the bell to give a 'closed' sound. Soprano cornet, solo cornet 3&4 and repiano cornet will require harmon mutes - TE indicates 'Tube Extended', TR indicates 'Tube Removed'. Soprano and repiano cornets will also require metal straight mutes. Vibrato should only be used very sparingly throughout, and never in muted passages.Percussion Requirements:Percussion 1: tubular bells, concert bass drum (not a kit pedal drum), tam tam, clash cymbals, 3 x tom toms, 1 x suspended (clash) cymbal and snare drum.Percussion 2: vibraphone (bowed and with mallets), bass drum and tam tam (shared with perc. 1), additional suspended (clash) cymbal and snare drum.Percussion 3: glockenspiel, 4 x timpani (ideally 23", 25", 28" and 30")Approximate duration 5'50"
Estimated dispatch 7-14 working days
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£29.95Island Whirl
Island Whirl was commissioned by Margaret Milligan who wanted a brand new piece of music composed as a present for Ian, her husband for his 70th birthday. Ian Milligan is a keen and dedicated musician and he is the musical director of Callendar Brass, based in Callendar near Stirling in Scotland.Margaret contacted me about the possibility of composing a short lively piece which had a Scottish theme that would be ideal for Callendar Brass Band and any other ensemble to get their teeth into. This piece takes its inspiration from the traditional Scottish folk song 'An Eriskay Love Lilt' which is a particular favourite of both Margaret and Ian.With thunderous Celtic drums the piece opens in a whirlwind of sound with fanfare brass and an off-stage soloist that can perform using either the cornet or trumpet. After the exciting opening, the brass and drums die away to allow the off-stage soloist to air the traditional tune 'An Eriskay Love Lilt'.The beautiful haunting melody, keeping its originality throughout undergoes a series of changes in the accompanying harmonic material before dying away to allow the Celtic drums to return. The percussion whip the band into a frenzy as the piece gets faster and faster. Just prior to the final notes the band diminuendo to allow one last closing statement from the Eriskay Love Lilt lead by the off-stage soloist before the ensemble charge to a dramatic close.When performing this piece I would recommend the off-stage soloist taking a position somewhere in the audience, so they can almost feel part of the performance. In addition, with the two tom-tom parts that represent the Celtic drums, bands should make the most of showcasing them by getting the two drummers out to the front of the band to perform. The ideal stage position would be with the players set up in stereo with one player in front of the soprano cornet and the other in front of the solo trombone.With the various choreographed movements from both the off-stage soloist and the percussionists. This piece is a great addition to any concert repertoire and is an ideal showcase for bands who want to try something a little different.I wish Ian at 70 years young, all the very best with his music making in the many years to come and I hope this piece, composed especially for him and Callender Brass brings them many years of musical enjoyment.Paul Lovatt-Cooper
Estimated dispatch 7-14 working days
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Blue | Gansch arr. John Doyle
A truly stunning piece of music written by the world famous Thomas Gansch of Mnozil Brass, and artfully arranged for Brass Band. The stage performance of this piece includes a Solo septet of three trumpets,tenor horn, two trombones and a tuba. The main band fills in the accompaniment. Trumpet 1 has a tricky part to play, but all other parts are straightforward. First performed by the Leyland Band at Music in Concert 2014, this is a real favourite, and a stunning show piece. Instrumentation: Solo Septet: Trumpets 1, 2 and 3 Solo Tenor Horn Trombones 1 & 2 Bb Tuba Main Band: Soprano, Solo, Repiano, 2nd and 3rd Cornets Flugelhorn 1st and 2nd Tenor Horns 1st and 2nd Baritone 1st, 2nd and Bass Trombone Euphonium Eb and Bb Basses Drum Kit Tambourine Bongos ISMN: 979-0-708127-94-9
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£30.95ACADEMIC FESTIVAL FANFARE - (AKADEMISCHE FESTFANFARE)
This cornet and trombone featurewas written to celebrate the re-opening of the Preuenflgel at the FolkwangHochschule in Essen, Germany on the 27th April 2005.Premiered by theFolkwang Brass Band, conducted by Heinrich Schmidt and recorded by theBlack Dyke Band at the European Championships Gala Concert in Belfast 2006.
In stock: Estimated dispatch 1-3 days
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£89.95Songs of Ascent - Jonathan Bates
DURATION: 14 minutes. DIFFICULTY: Championship. 'Songs of Ascent' was composed for the Royal Northern College of Music Brass Band, as part of their programme for the 2019 RNCM Festival of Brass. In my view, the festival itself is the leading showcase for original contemporary music for the medium (in a concert setting) in the world and therefore an ideal place to explore new ideas and sounds, which was a notion fundamental to the construction of this work. The piece is subtitled 'Out of the Depths, I cry to you, O Lord'; the opening line of Psalm 130 (which forms part of a set of 15 psalsm, 120-134 known as the Songs of Ascent") which forms the main inspiration for much of the musical material. Following an extended opening for four individual tuba lines, there are a number of solos for members of the band off stage, with bleak and deep accompaniment lines, reflecting the words of Psalm 130. Amongst these 'songs of ascents', the most common and strong themes are repentance and redemption; with the central core of this work emerging 'from the depths' to reveal one of very few calming and reflective passages of the work utilising the tune of 'Guide Me O Thy Great Redeemer' in a new setting, featuring the Solo Horn and Bass Trombone, before returning to the ethereal and dark timbres that form much of the music up to this point. In terms of compositional technique, this work is solely based on a set of 4 9-note scales in their various unique transpositions (below). Each of these scales provide a set of 2 whole tone scales, 6 minor triads, 6 major triads and is built on 9 augmented triads. Whilst most of the music in this work is based melodically on the set of notes (heard right at the outset in the motif in the tuba line), the central section delves into the harmonic capabilities of these 'modes', using a number of the 7 'keys' which can be derived from the minor & major chords derived in each scale. All 4 scales are used independantly to each other, with whole sections of the work focussing on each mode. 'Songs of Ascent' was selected as the set work for the Championship Section at the Butlin's Mineworker's Championships in 2020.
In stock: Estimated dispatch 1-3 days
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£25.00Bonny At Morn - Steve Robson
A beautiful arrangement of the Northumbrian folk song, created here by Steve Robson as asolo for trombone with brass band.The tranquil melody led by the soloist is sympathetically and gently supported by the rest of the band, bringing a pause for reflection and tranquility to your concert programme.Steve Robson dedicates this arrangement to Bob Thompson, a long-time friend and playing associate.
Estimated dispatch 7-14 working days
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£120.80Haven't Met You Yet - Michael BublĂ©
"Haven't Met You Yet" is the first single from Canadian singer Michael Buble's sixth album, Crazy Love, released on August 31, 2009. According to Buble, the single and its official music video are "about everyone's dream of finding a relationship and love." Buble co-wrote "Haven't Met You Yet" with Alan Chang and Amy Foster-Gillies and dedicated it to his then fiancee and now wife, Luisana Lopilato (who appears as his love interest in the music video).2012, Nick Jonas covered the song in the TV series Smash, so this music can also be used in a TV/Movie theme concert.Soloist options:Attached is a vocal lead that can be used with the arrangement. It is then recommended to dampen the melody in the ensemble, especially on the verses. (See list below)There are some performers or groups that can have these bars as solos:9-17 Flugelhorn17-24 Euphonium/Horn37-45 Euphonium45-52 Baritone/Trombone61-69 Horn/ Flugelhorn78-85 Euphonium/Baritone86-95 Flugelhorn107-end Flugelhorn/EuphoniumIf you want to use an instrumental soloist throughout the piece, they can use the vocal lead and transpose it to their instrument. Then the conductor should dampen or remove the above solos in the band.
Estimated dispatch 5-14 working days
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£35.00Blues On The March (Score and Parts)
Traditional marches are great, but sometimes you want something different to kick off your concert. This piece gives your band a chance to get into the 'swing' of things, based on the traditional twelve bar blues it features a contrasting middle section with a trombone trio and a flugel (cornet) obligato.
Estimated dispatch 7-14 working days
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