Results
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£29.95Intrada - Jonathan Bates
DURATION: 2'30. DIFFICULTY: 2nd+. 'Intrada for Brass Band' was composed for my great friends at Orskog Brass, Norwayin celebration of their 50th anniversary. The work is a short celebratory fanfare used to open their anniversary concert, making use of antiphonal cornet choirs and marimba (with which the band had only recently been able to source, hence it's inclusion!).
In Stock: Estimated dispatch 1-3 working days
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£29.95March: Salisbury Plain - Jonathan Bates
DURATION: 4'30". DIFFICULTY: 2nd+. 'Salisbury Plain' is a march composed for the British Army Band Tidworth as a leaving gift from their Euphonium player LCpl Lucas Lockley. The title is inspired by the vast historic land near to Tidworth's base and notably one of the most iconic iconic landmarks in Great Britain - Stonehenge - which sits upon the plain.
In Stock: Estimated dispatch 1-3 working days
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£29.95Maybury Hill Lullaby - Jonathan Bates
DURATION: 4 minutes. DIFFICULTY: 2nd+. 'Maybury Hill Lullaby' was composed for the City of Bradford Brass Band as part of a programme of music based around both the original H.G Wells novel and 1978 adaption by Jeff Wayne of The War of the Worlds. . During the previous day, the first of the missiles from Mars had crashed into Earth and the creature within had gone about invoking chaos and destruction upon all human life nearby. 'The Narrator' (an unnamed character throughout) escapes the scene to his home on Maybury Hill, Woking and falls into a deep, haunted sleep, recalling the horrors he had witnessed before his eyes.
In Stock: Estimated dispatch 1-3 working days
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£39.95Prelude on George Butterworth - Jonathan Bates
DURATION: 6 minutes. DIFFICULTY: 2nd+. Prelude on george Butterworth was composed as the prologue to the special Duhram Hymns event, alongside music by Orlando Gough and Jessica Curry, whilst using text by Carol Ann Duffy. The premiere performance took place in a packed Durham Cathedral, with the music for this pieces inspired by Durham Light Infantry soldier and renowned composer George Butterworth.
In Stock: Estimated dispatch 1-3 working days
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£34.95Spring: Reloaded - Jonathan Bates
DIFFICULTY: 2nd+. DURATION: 3'00". 'Spring:Reloaded' is composed as a response to Vivaldi's famous 'Spring' from his Violin Concerto in E Major - more commonly known. as 'The Four Seasons' - and was composed for Strata Brass' seasons themed sets for their 2019 entertainment competition programmes. . This composition sets a number of the original Vilvaldi melodies from each movement of 'Spring' against a far more contemporary . harmonic backdrop, featuring antiphonal cornet & percussion choirs, with each 'choir' having it's own mini concertino group to accompany . them which is formed from a selection of the remaining lower brass and percussion. .
In Stock: Estimated dispatch 1-3 working days
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£29.95The Battle of Sherwood Forest - Jonathan Bates
DURATION: 3 minutes. DIFFICULTY: 2nd+. 'The Battle of Sherwood Forest' was composed for BD1 Brass as part of a set of music inspired by the fairytale of Robin Hood and Maid Marian. . In this section of the story, we are transported to the infamous Sherwood Forest in Nottinghamshire where Robin Hood does battle against the evil Sheriff of Nottingham - a crooked and corrupt officer of the law employed by King Richard to tak the poor and provide for the rich. The battle ends in a stalemate, but Maid Marian (an ally of Robin's) is captured during the conflict by the Sheriff's man and escorted far, far away into solitary confinement.
In Stock: Estimated dispatch 1-3 working days
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£33.91Sonata No.8 (Horn & Flugel Feature) - Kevin Ackford
Score & Parts The stunning 2nd movement from Beethoven's Piano Sonata No.8 "Pathetique" beautifully and subtly arranged to feature your Horns and Flugel. Percussionists can have a rest during this feature. A must have feature for your Horn section
Estimated dispatch 5-7 working days
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£35.00Edward Gregson: Fanfare for a New Era (for Brass Band)
DescriptionComposer's NoteThe Fanfare has been designed to be partly antiphonal, with four separate brass 'choirs' initially playing their own music, and so some spatial separation is desirable. Soprano and solo cornets should be placed centrally, standing behind the rest of the band - or in some venues could even be placed off-stage in a side balcony, but still close to the band. If the Fanfare is played by a contesting size band, one of the solo cornets should play the 1st cornet part together with the usual player ie the number of players on the 1st, 2nd, and 3rd cornet parts should be equal. Otherwise the number of players in each of the two cornet 'choirs' is at the discretion of the conductor. The Tubular Bells accompanying the cornets 1-3 group should be placed close to that group. See inside back cover for suggested band formation.The style of playing should replicate that of symphonic brass, with a minimum of vibrato and with long notes being sustained without decaying.Programme NoteCommissioned in 2020 by Youth Brass 2000, Fanfare for a New Era was designed to be partly antiphonal - thus the separation of the band into four brass 'choirs', each with their own percussion accompaniment. First, soprano and solo cornets, rather like heraldic trumpeters, announce the main idea, majestic in character. Then horns, baritones, and euphoniums, with timpani, enter with stately figurations. Next, the heraldic trumpeters usher in trombones and tubas, to the accompaniment of tom-toms and snare drum, presenting a faster and rhythmic dance-like theme. Finally, the remaining cornets amplify the pealing of bells. All four elements then come together, surrounding the audience with a 'joyful noise' of festive brass and percussion.The original symphonic brass version of this fanfare can be purchased as part of a set of Three Fanfares HERE.For more information on Edward Gregson's music please visit the composer's website: www.edwardgregson.com
Estimated dispatch 7-14 working days
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£35.00Ariel
DescriptionAll hail, great master! Grave sir, hail! I come To answer thy best pleasure, be 't to fly, To swim, to dive into the fire, to ride On the curled cloud. To thy strong bidding, task Ariel and all his quality. - William Shakespeare: The Tempest, Act 1, Scene 2Ariel was written for the Hammonds Band to open their programme at the 2019 Brass in Concert Championships at The Sage Concert Hall in Gateshead, where it received its premiere. The title is taken from the character in Shakespeare's play 'The Tempest'. Ariel is an immensely powerful "air spirit" or demon bound to serve Prospero, the exiled Duke of Milan, after being released by Prospero from imprisonment in a tree. In the play Ariel's magical abilities are used to help Prospero revenge himself on his enemies and reclaim his dukedom, whereupon Ariel finally regains his freedom.You can hear an audio preview and follow the score below: Performance notes:The cornets and horns are split into two "choirs" to be placed left and right of the band. It may be possible for the choirs to play their opening flourish offstage, and the optional repeated sections in the opening are to accommodate stage movement if required. Trombones form a third "choir" which should ideally stand centrally between basses and percussion, and the euphoniums and baritones should sit in front of the basses. The work requires four percussionists, although if four are not available the 2nd part may be omitted.Percussion 1: Kit - bass drum, snare, 3 x toms, hi-hat, suspended cymbal - and 3 x temple blocksPercussion 2: Tam tam and orchestral bass drum.Percussion 3: Glockenspiel and timpaniPercussion 4: Tubular bellsSoprano, solo cornets and 3rd cornets require cup mutes. Solo trombone requires a cup mute, second trombone requires a metal straight mute.
Estimated dispatch 7-14 working days
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£36.00Edward Gregson: The World Rejoicing
DescriptionComposer's NoteIn searching for a common link between the brass band traditions of the various European countries that commissioned this work, I considered the fact that hymns have always played an important role in the relationship that brass bands have with their particular communities; and thus I turned to a well-known Lutheran chorale, Nun danket alle Gott (Now thank we all our God), written around 1636 by Martin Rinkart, with the melody attributed to Johann Cruger. A number of composers have incorporated this chorale into their music, most famously J.S.Bach in his Cantatas no. 79 and 192, and Mendelssohn in the Lobsegang movement of his 2nd Symphony (the harmonization of which is usually used when this hymn is sung).It seemed fitting therefore for me to return to a compositional form I have used many times before (Variations) and to write a work based on this hymn. I have used it in a similar way to that which I employed in my Variations on Laudate Dominum of 1976 - that is, rather than writing a set of variations using elaborations of the complete tune, I have taken various phrases from the chorale and used them within the context of other musical material, applying an overall symphonic process of continuous variation and development. The structure, or sub-divisions of the work, which is through composed and plays without a break, is as follows: Prelude, Capriccio, La Danza 1, Processional, La Danza 2, Arias and Duets, Fuga Burlesca, Chorale, and Postlude.The work is also partly autobiographical - in the manner say of Strauss's Ein Heldenleben - in that I have incorporated into the score brief quotations from many of my other major works for brass band. In that respect, The World Rejoicing sums up a particular facet of my life as a composer, and reflects the admiration I have always had for what is surely one of the great amateur music-making traditions in the world.The World Rejoicing is dedicated 'in loving memory of my brother', Bramwell Logan Gregson, who sadly passed away in the Autumn of 2018.Edward Gregson
Estimated dispatch 7-14 working days