Results
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£40.00Abide With Me (Euphonium Solo with Brass Band - Score and Parts) - McGhee, Paul
My arrangement of William H. Monk's tune of 1861, uses the euphonium soloist as the central figure for the melodic line in the three verses. Surrounding the solo line is an irregular pulsed figure in the percussion to give the music an unsettled feel whilst the muted ensemble lightly colour the melodic contour of the soloist. From the low beginnings of the piece, where no high instrumentation is used, we are led through the darkened texture to a bright finale, although the sense of the forbidding is always present.Abide With Me has always been a favourite hymn of mine and it was when watching the film 28 Days Later that I believed it would make a rather striking arrangement for brass band. This was confirmed further when the hymn was used at the 2012 opening ceremony of the London Olympics. The juxtaposition between the static, slow moving melody and the rhythmic effects of the dancers was something that I thought could be captured in an arrangement.- Paul McGheeDuration: 5.00
Estimated dispatch 7-14 working days
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£69.99Tombstone, Music from (Brass Band - Score and Parts) - Broughton, Bruce - Sparke, Philip
Released in cinemas in 1993, Tombstone is an American western written by Kevin Jarre and directed by George Cosmatos. Starring Kurt Russell and Val Kilmer, it was narrated by Robert Mitchum and is based on events relating to the Gunfight at the OK Corral, and the subsequent Wyatt Earp Vendetta, both of which took place in Tombstone, Arizona. The theme is crime, political corruption and law enforcement in the American west during the 1880s. The score was by Bruce Broughton, and this selection features music from the opening and closing credits.Duration: 5.00
Estimated dispatch 7-14 working days
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£72.99Folklore for Band (Brass Band - Score and Parts) - Caudill, Jim Andy - Blanken, John
Heavily influenced by the modal folk idiom found in early Welsh and British band repertoire, this dynamic work is sure to become a classic for brass bands.Duration: 5.15
Estimated dispatch 7-14 working days
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£95.00Variations on a Theme of Michael Tippett (Brass Band - Score and Parts) - Hindmarsh, Paul
A Centenary Tribute by Michael Ball, Edward Gregson, Elgar Howarth, Bramwell Tovey and Philip WilbyThis unique 'pice d'occasion' arose out of a telephone conversation in 2004 with Alan Wycherley, who was the soprano cornet player of the Foden's Richardson Band at the time. He indicated that the band would like to include an original birthday tribute for Edward Gregson (60) and Elgar Howarth (70) in its concert at the 2005 RNCM Festival of Brass in Manchester. I have been Artistic Director of Manchester's Festival of Brass since it was established in 1990 as a BBC Radio 3 series, As the centenary of the birth of Sir Michael Tippett fell on 5 January 2005, I devised this collective work as a way of embracing all three anniversaries in a novel way.The idea of joint compositions is not a new one in the classical music world. In the 1860s, Verdi was joined by a number of his contemporaries in a Requiem Mass for Rossini. In this country there have been a number of orchestral examples over the past fifty years, but never before for the brass band. Although Tippett composed only one work for brass band, Festal Brass with Blues, his orchestral works and operas are full of idiomatic brass writing. The theme I chose for this celebration is one of Tippet's most memorable miniatures featuring wind and brass. In the opera Midsummer Marriage it marks the entry of the Ancients. It is also included in the orchestral Suite in D (1948), for the Birthday of Prince Charles.I invited five of the leading contemporary voices in brass band music to add their own creative perspectives to the little Tippett theme, with it's characteristic rhythms, embellishments and modality - the Lydian mode. Each contribution was designed to fit into a tonal and formal template to give the whole work a flow and continuity. In Danse des Amis, Bramwell Tovey has composed a jazzy, humorous variation. Inspiration came from Tippett's love of jazz and, more personally, from the characteristically syncopated gait of the distinguished music critic John Amis, who Tovey once observed leaving a performance of Tippett's opera King Priam before the end. Incidentally, that performance was conducted by Elgar Howarth.We hear Edward Gregson in lyrical mode. His Midsummer Song is redolent of the sound world of Tippett's opera A Midsummer Marriage and it ends with a brief reference to a favourite of Gregson's, Tippett's Concerto for Orchestra. Michael Ball provides a brief moment of light, airy activity bringing to mind perhaps Tippett's love of Shakespearian fantasy, especially The Tempest. Elgar Howarth juxtaposes a slowed down version of the processional theme with distant recollections of fanfares from King Priam. Philip Wilby has rounded the tribute off with a spectacular fugue. During its inexorable progress Wilby ingeniously introduces the two other birthday references - the three-note musical signature that Elgar Howarth includes in much of his music and the characteristic theme which begins Edward Gregson's substantial work for brass an organ The Trumpets of the Angels. An elaborated reprise of Tippett's little theme is followed by a dynamic coda.- Paul HindmarshDuration: 13.00
Estimated dispatch 7-14 working days
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£40.00
Variations on a Theme of Michael Tippett (Brass Band - Score only) - Hindmarsh, Paul
A Centenary Tribute by Michael Ball, Edward Gregson, Elgar Howarth, Bramwell Tovey and Philip WilbyThis unique 'pice d'occasion' arose out of a telephone conversation in 2004 with Alan Wycherley, who was the soprano cornet player of the Foden's Richardson Band at the time. He indicated that the band would like to include an original birthday tribute for Edward Gregson (60) and Elgar Howarth (70) in its concert at the 2005 RNCM Festival of Brass in Manchester. I have been Artistic Director of Manchester's Festival of Brass since it was established in 1990 as a BBC Radio 3 series, As the centenary of the birth of Sir Michael Tippett fell on 5 January 2005, I devised this collective work as a way of embracing all three anniversaries in a novel way.The idea of joint compositions is not a new one in the classical music world. In the 1860s, Verdi was joined by a number of his contemporaries in a Requiem Mass for Rossini. In this country there have been a number of orchestral examples over the past fifty years, but never before for the brass band. Although Tippett composed only one work for brass band, Festal Brass with Blues, his orchestral works and operas are full of idiomatic brass writing. The theme I chose for this celebration is one of Tippet's most memorable miniatures featuring wind and brass. In the opera Midsummer Marriage it marks the entry of the Ancients. It is also included in the orchestral Suite in D (1948), for the Birthday of Prince Charles.I invited five of the leading contemporary voices in brass band music to add their own creative perspectives to the little Tippett theme, with it's characteristic rhythms, embellishments and modality - the Lydian mode. Each contribution was designed to fit into a tonal and formal template to give the whole work a flow and continuity. In Danse des Amis, Bramwell Tovey has composed a jazzy, humorous variation. Inspiration came from Tippett's love of jazz and, more personally, from the characteristically syncopated gait of the distinguished music critic John Amis, who Tovey once observed leaving a performance of Tippett's opera King Priam before the end. Incidentally, that performance was conducted by Elgar Howarth.We hear Edward Gregson in lyrical mode. His Midsummer Song is redolent of the sound world of Tippett's opera A Midsummer Marriage and it ends with a brief reference to a favourite of Gregson's, Tippett's Concerto for Orchestra. Michael Ball provides a brief moment of light, airy activity bringing to mind perhaps Tippett's love of Shakespearian fantasy, especially The Tempest. Elgar Howarth juxtaposes a slowed down version of the processional theme with distant recollections of fanfares from King Priam. Philip Wilby has rounded the tribute off with a spectacular fugue. During its inexorable progress Wilby ingeniously introduces the two other birthday references - the three-note musical signature that Elgar Howarth includes in much of his music and the characteristic theme which begins Edward Gregson's substantial work for brass an organ The Trumpets of the Angels. An elaborated reprise of Tippett's little theme is followed by a dynamic coda.- Paul HindmarshDuration: 13.00
Estimated dispatch 7-14 working days
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£34.95Chalk Farm No.2 (Brass Band - Score and Parts) - Gregson, Edward
Like so many of the best composers for brass band - Eric Ball, Wilfred Heaton, Elgar Howarth and Robert Simpson - Edward Gregson's youthful talents came to the fore in the Salvation Army. In 1975 Gregson was commissioned by the Chalk Farm Band of the Salvation Army to write a march for the centenary of the birth of the band's most long-serving bandmaster Alfred W Punchard, who conducted the band from 1894 to 1944. In 1909 the Salvation Army published a march called Chalk Farm featuring the old Army chorus 'March on, we shall win the day'.Gregson uses the same tune in his Chalk Farm No 2 march, but this is a symphonic march clearly to be played sitting down. He includes irregular bars of 5 and 7 beats as well as a tongue-in-cheek treatment of the tune, complete with bongos (in the march) and bi-tonality (in the trio). Chalk Farm No 2 imaginatively composed. Gregson's own main theme 'fits' the chorus as a counter-subject. The playful irreverence of the style has more in common with Wilfred Heaton's Praise or Glory, than the conventional Salvation Army March.Duration: 4.00
Estimated dispatch 7-14 working days
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£60.99Alpine March (Brass Band - Score and Parts) - Moren, Bertrand
Bertrand Moren composed Alpine March for the Hochwaliser Musikfest in Blatten, Switzerland in 2004.The march opens in a festive 6/8 time with lots of dynamic contrast and characteristic 6/8 rhythms. The Trio-section however is written in 2/4 time and is very lyrical. With a da capo this march, written by the winner of last year's European Brass Band Composition Contest, is brought to a thrilling close.Duration: 5.15
Estimated dispatch 7-14 working days
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£112.00March Slav (Brass Band - Score and Parts) - Tchaikovsky, Peter Ilyich - Wilkinson, Keith M.
March Slav was composed in 1876 for a charity concert to support the war in the Balkans. It was completed in the remarkably short time of 5 days and was encored twice at its first performance! The themes are based loosely on Serbian folk songs and there is also a reference to the Russian national anthem. The mood is funereal in style at the opening but this gives way to a very triumphant style by the end.This arrangement was prepared for the 2007 Summer concerts of Brass Band of the Western Reserve, musical director Dr Keith M Wilkinson (www.bbwesternreserve.org). It has been recorded by BBWR on the CD Slides Rule!
Estimated dispatch 7-14 working days
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£60.99So in Love (Brass Band - Score and Parts) - Porter, Cole - Morita, Kazuhiro
Cole Porter was one of the great masters of Broadway musicals during the thirties, forties and fifties, with So in Love, from the musical Kiss Me Kate, being one of his best loved works. It has been recorded by many artists including Bing Crosby, Lulu, Shirley Bassey and Julie Andrews, however it is the Ella Fitzgerald version that is best known. This jazzy musical classic can now be enjoyed by your brass band with this excellent new arrangement.Duration: 5:00
Estimated dispatch 7-14 working days
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£89.95The Trumpets of the Angels (Brass Band - Score and Parts) - Gregson, Edward
The Trumpets of the Angels was commissioned by the Fodens (Courtois) Band for their centenary concert at The Bridgewater Hall in 2000. It is based on a work written for the BBC Philharmonic and Huddersfield Choral Society in 1998, the starting point of which was a quotation from the Book of Revelation:and I saw the seven angels which stood before God; and to them were given seven trumpetsThus the idea behind the work is dramatic and I have tried to achieve this by the spatial deployment of seven solo trumpets around the band, four on-stage, the others off-stage. Six of the solo trumpets eventually join the band, but Trumpet 7 remains off-stage and, indeed, has the most dramatic and extended cadenza representing the words of the seventh angel ...and time shall be no more.The Trumpets of the Angels is a large-scale work, scored for seven solo trumpets, brass band, organ and percussion (deploying 'dark' instruments such as tam-tams, bass drum and two sets of timpani). The work opens with a four-note motif announced by off-stage horns and baritones and answered by fanfare figures on solo trumpets. In turn, each of the first four solo trumpets play cadenzas and then all four join together, independently playing their own music. The organ enters dramatically with its own cadenza, leading to the entry of solo trumpets 5 and 6 with music that is more urgent and rhythmic, describing the horsemen of the Apocalypse.The music reaches another climax, more intense this time, with the horns and baritones (now on-stage) again sounding the transformed motif, before subsiding into what might be described as a lament for humanity, slow music which builds from low to high, from soft to loud, with a melody that is both simple and poignant. At the climax, Trumpet 7 enters playing the opening four-note motif, dramatically extended to almost three octaves. This cadenza (to the partial accompaniment of tam-tams) introduces new material and foreshadows the ensuing scherzo which is fast and aggressive. Despite the somewhat desolate mood of this music, it slowly moves towards an optimistic conclusion, transforming the 'humanity' music into an affirmative and triumphant statement.- Edward Gregson
Estimated dispatch 7-14 working days
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