Results
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£115.60Griffenfeldt - John Philip Hannevik
Here we present "Griffenfeldt, a folk-dance in the style of a Norwegian reinlender.This arrangement can be used as the first item in a concert, or after an interval.The musicians can come on stage as they join in. That is why two of the measures are notated "repeat till ready", here you have to wait until everyone is in place! If everyone is ready from the start, the repetition can be omitted.Be sure to play with a bouncy but singing style, not with short and harsh articulations.Do the trills on the beat, but these can also be omitted if it makes it too difficult.To bring out the folk music style a little extra, you can ask the musicians to play on the "backbeat", i.e. emphasize the last half of each quarter-note.In addition, the music will really come to life if all "solo" places are done standing up.The musician Anon Egeland tells this story:This song got its name from a party where it all just got a bit too lively: one of the party-goers started shooting into the ceiling with a gun just as this reinlender was being played. The fiddler - or was it the man with the gun? - was called Griffenfeldt, and that gave the name for the song.
Estimated dispatch 5-14 working days
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£40.00The Unfortunate Traveller (Brass Band - Score only) - Holst, Imogen - Hindmarsh, Paul
Imogen Holst (1907-1984) submitted The Unfortunate Traveller (1929) as her final work as a student portfolio at the Royal College of Music, where her composition teacher was Gordon Jacob. The title was taken from Thomas Nashe's famous 1594 picaresque novel of the same title. The Suite was first performed on 12 February 1933 at her Majesty's Theatre, Carlisle, by the St. Stephen's Band, with the composer conducting. Te concert was given in memory of Holst's uncle, Dr. H.A. Lediard. Holst had been impressed with the band's performance of his A Moorside Suite at the 1928 National Brass Band Championships (The Crystal Palace, South London) and was keen to work with them. Writing in Imogen Holst, a life in music, Christopher Grogan indicates that it was Gustav Holst's suggestion to include his daughter's work in the programme, quoting Imogen Holst's remarks made in interview to The Daily Mail as follows: "....it is the first time, so far as I know, that a woman has conducted a brass band at a public concert....It has been a delight to rehearse the St. Stephen's Band. It was their performance at the Crystal Palace Festival that inspired me to write this Suite, which I have dedicated to them."Imogen Holst accompanied her father to the Crystal Palace in 1928 to hear the performances of A Moorside Suite, and was so excited by the played and, audibly, by her father's music that she decided to write a brass band piece for her final examination. Te result was The Unfortunate Traveller (1929). However, it was not possible for her to present a brass band work for examination. She arranged it for string orchestra so that it could be played before she left the RCM in July 1930. Following the premiere of the original in 1933, the manuscripts did not resurface until 1969 Imogen found them among her late mother's effects. Although she requested score and parts be destroyed, they ended up in the possession of Manchester composer John Golland, who marked up the score presumably with the intention of creating a new performing edition. The original scoring reveals a lack of experience with what can be a tricky medium.With the agreement of the Holst Foundation, a revised edition, with additional percussion, was prepared in 2011 since when the work has been fortunate to travel round the world as a concert and contest piece. The original includes drums in the March only. The title was taken from Tomas Nashe's famous 1594 picaresque novel of the same title. Several Morris Dance tunes are introduced during the course of the four short movements, including Bonnie Green Garters, Shepherd's Hey, The Rose and The Wind Blaws Cauld. Quirky twists and turns of harmony and spirited rhythms that remind us how much Imogen Holst loved tradition English dance music.In September 2025, I made a performing edition of the composer's arrangement for string orchestra. The manuscript lacks the final movement, which I arranged in a similar style, ie. without extending the upper ranges. Making this edition raised some issues regarding the accuracy of my band version and some of the solutions I used to smooth out the voicing. I have used the composer's second thoughts to refine my performing edition and to correct a textual errors.- Paul HindmarshDuration: 10.00
Estimated dispatch 7-14 working days
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£33.15Libera Me from 'Requiem' (Brass Band) Faure arr. Rob Bushnell
Composed between 1887 and 1890, Gabriel Faure's Requiem is not only one of his best-known works but one of the most popular piece of choral music in the Classical repertoire, coming 23rd in the Classic FM's Hall of Fame 2024. Believed to be a tribute to his father (who died in 1885), Faure himself said "My Requiem wasn't written for anything - for pleasure, if I may call it that!" It started life as a five-movement work but was later expanded to be the final seven-movement work we know today. The first version (which Faure called "un petit Requiem") was first performed on 16 January 1888, with Faure conducting, a second version premiered on 21 January 1893 before the final version (reworked for full orchestra) was played on 12 July 1900; the Requiem was performed at the composer's own funeral in 1924.The Libera Me, or Deliver Me, was actually written in 1877 and is the sixth part of the Requiem.Faure once said of the work, "Everything I managed to entertain by way of religious illusion I put into my Requiem, which moreover is dominated from beginning to end by a very human feeling of faith in eternal rest." Upon interview, he also said, "It has been said that my Requiem does not express the fear of death and someone has called it a lullaby of death. But it is thus that I see death: as a happy deliverance, an aspiration towards happiness above, rather than as a painful experience. The music of Gounod has been criticised for its inclination towards human tenderness. But his nature predisposed him to feel this way: religious emotion took this form inside him. Is it not necessary to accept the artist's nature? As to my Requiem, perhaps I have also instinctively sought to escape from what is thought right and proper, after all the years of accompanying burial services on the organ! I know it all by heart. I wanted to write something different."This arrangement is for the British-style brass band, with alternative parts for horns in F and bass-clef lower brass. The tenor solo is featured on the euphonium. A recording of the original composition can be found here: www.youtube.com/watch?v=fXwFNoBHCf0 Duration: 4.20 minutes approx. Difficulty Level: 4th Section + PDF download includes parts and score. Sheet music available from www.brassband.co.uk Instrumentation: Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass BbTimpani
In Stock: Estimated dispatch 1-3 working days
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£250.00
Continental Divide - Stig Nordhagen
The title is "Continental Divide" and it has nothing to do with tectonic plates, but is another word for "Watershed".It is the place where the the water flows in opposite directions. For example, when you drive up a mountain, the water flows downwards, the same does it when you drive down the other side. On top there is usually a water, and it is in this water, or musical idea if you like,that it is a continental divide. What I intend is that in this piece there are some musical motifs that change character and direction. They can be in the foreground and carry the play, or they may be in the background as a countermeasure. It can also be from horizontal lines to vertical.Or rhythmical patterns that dont find their match until far into the piece.
Estimated dispatch 7-14 working days
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£33.15Les Chasseresses from 'Sylvia' (Brass Band) Delibes arr. Rob Bushnell
Clement Philibert Leo Delibes was a French composer, best known for his ballets and operas, including works such as Lakme (with its famous "Flower Duet"), Coppelia and Sylvia (both key works in the development of modern ballet). The latter started as a play, Aminta, by the Italian poet Torquato Tasso, which Delibes set to music. It was then adapted for the Paris Opera with rehearsals starting in August 1875. The premiere took place on 14 June 1876 and was the first ballet to be shown at the newly-built Opera Garnier. Whilst the scenery and costumes were created by top artists and designers (Cheret and Lacoste), it was Delibes's music that shown thrown, being said to have saved the production, preventing the ballet from drifting into obscurity.Sylvia is said to be one of the first modern ballets, with Tchaikovsky remarking to composer Sergei Taneyev upon its ingenuity: "... the first ballet, where the music constitutes not only the main, but the only interest. What charm, what elegance, what richness of melody, rhythm, harmony." Although Swan Lake, a contemporary to Sylvia, is considered one of the best ballets there is, Tchaikovsky preferred Sylvia to his own work, saying Swan Lake was "poor stuff in comparison". Tchaikovsky said to Taneyev, "I was ashamed. If I had known this music early then, of course, I would not have written Swan Lake". The music to Sylvia, rather than setting only the mood, also sets the action and is noted for its use of leitmotifs - Delibes was an admirer of Wagner - and more dominant use of brass and wind. The most famous piece from this ballet is the Pizzicati in the third act.Act I of the ballet takes place in sacred wood, where creatures are worshipping before Eros when Sylvia arrives with her huntresses to mock the god of love. Aminta, a lowly shepherd and infatuated with Sylvia, protects the deity and Sylvia is wounded by Eros's arrow. The hunter Orion kidnaps Sylvia, whilst Eros revives Aminta. Act II takes place in Orion's Island cave, where Sylvia tries to bribe Orion with jewels and wine. Unsuccessful, she appeals to Eros for help, who arrives and takes her to the temple of Diana (where the final act takes place). Orion and Aminta fight, Sylvia and Orion cause the goddess of the hunt, Diana, to be outraged, smiting Orion and denying the love of Aminta and Sylvia. Eros shows Diana a vision, which changes her mind and the couple finally come together.This brilliant and lively fanfare that introduces the huntresses in the first act is arranged here for the UK-style brass band, with alternative parts for horns in F and bass-clef lower brass. The piece has been lowered by a tone compared to the original. A recording of the original composition can be found here https://youtu.be/6yoGrUH38PI?si=0L0bFa1qXnYNvkR3 Duration: Approx. 3.10 minutes Difficulty Level: 1st Section + This PDF download includes the full score and parts. Includes alternative parts for soloist in Eb, horns in F and lower brass in bass clef. Sheet music available at www.brassband.co.uk (UK) or www.cimarronmusic.com (USA) Instrumentation: Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass Bb Timpani Percussion - Triangle, Cymbal & Bass Drum
In Stock: Estimated dispatch 1-3 working days
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£45.00Diversions after Benjamin Britten (Brass Band - Score only)
Suite by Lucy Pankhurst, Simon Dobson, Paul McGhee and Gavin HigginsHaving devised a collective centenary tribute for Michael Tippett at the 2006 RNCM Festival of Brass (Variations on a Theme of Michael Tippett by five eminent composers of brass band music, PHM002), I commissioned this companion piece as a Benjamin Britten tribute for the 2013 festival. In the late 1970s, while researching a book about the English composer, and Britten's first teacher, Frank Bridge (1879 - 1941), I came across a copy of the printed score of Benjamin Britten's Variations on a Theme of Frank Bridge (Op.10) for string orchestra, in which Britten had written descriptive titles for each of the variations suggesting appropriate character traits of his much loved mentor and guide. The character variations are cast in march, song and dance forms.Taking inspiration from Britten's youthful tribute, I invited four award-winning composers, who have all made significant contributions to the brass band medium, to create their own personal reflections on four aspects of Britten's character and music, designed to form a suite of Diversions after Benjamin Britten, but which can also be played separately.Lucy Pankhurst's hauntingly lyrical Prelude: His Depth refers to the emotional and symbolic subtexts that underpin Britten's operas, taking its musical cue from Britten's many arrangements of folk songs. The flugel horn takes a prominent role throughout.Simon Dobson's breathless Scherzo: His Vitality reminds us with its rapid passage work and leaping bass 'groove' that Britten loved tennis and fast cars in his younger days.Paul McGhee's evocative interpretation of the March: His Sympathy represents Benjamin Britten's pacifism, as the composer writes: 'We view the music through the eyes of a pacifist. Whilst war and violence surround us, we do not engage in it and though it continues to happen around us. With the use of muted effects in most of the band throughout the piece, the flugel horn is the lone voice of reason, standing firm against the mechanical and destructive society in which it is forced to live. As the machine of war continues around the lone voice, the voice is gradually dismissed and mocked as the war machine rumbles on into the distance.'In an extended finale, entitled Toccata: His Skill, Gavin Higgins celebrates Benjamin Britten's consummate creativity. For the RNCM Festival of Brass premiere, the four contrasting movements were framed and connected by Britten's Fanfare for St. Edmundsbury for three trumpets, with the trumpet soloists spaced round the hall. I am grateful to the Britten Estate and publishers Boosey & Hawkes for giving permission for the elements of Britten's fanfare to be incorporated in the collective work.- Paul HindmarshDuration: 19.30
Estimated dispatch 7-14 working days
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£62.62Temperamental (Brass Band) Fendall Hill
This work by Fendall Hill was the set test for the 2021 National Brass Band Championships of New Zealand, B Grade. The composer writes: 'J.S. Bach (1685-1750) is deemed by many to be the 'Ulimate Composer'. He added an incredible proportion to the DNA of western music, and his influence is heard in the music of today. Like many artists, he was not overly recognised as a composer during his lifetime, and it took an 1829 performance of the St Matthew Passion by Mendelssohn to ignite a recognition of his place in the music world, a place he has maintained ever since. This piece starts with a similar spark of rediscovery of the music of Bach. It contains arrangements of various works, interspersed with composition based on Bach's chord structures, sections in the style of Bach, and original sections inspired by the moods created along the way. The first section explores the Toccata, and great organ works. This leads into an exploration of his choral works, and a finale based on the Preludes. The word 'Tempered' has different meanings, and all seem to apply to the music of Bach, and these appeal to the musical, engineering and spiritual aspects of my personal life. His music reaches to the humanity and divinity, it has strength, structure and order that creates frameworks in which incredible complexity reigns; and the complexity leads to a wildness, a kind of craziness that represents a range of human moods, and can change without warning. The same piece of music affects people in very different ways. I don't know if it's Bach's music, or us, but it can seem out of control and under control at the same time - the combination is highly temperamental. To view a follow-the-score video of the work please visit: https://youtu.be/zpNxITUqXZU Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Difficulty Level: 1st Section + Instrumentation: Soprano Cornet Eb Solo Cornet 1&2 Bb Solo Cornet 3&4 Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass Bb Timpani Percussion 1-4
In Stock: Estimated dispatch 1-3 working days
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£15.00In the Hall of the Mountain King - Grieg
Performance Notes from Andrew Duncan:This arrangement is fairly difficult for inexperienced players and is without doubt one of the most difficult in the Flexi-Collection Popular Classics Series. But, as it is such a popular piece there is normally a great incentive from the players to learn the piece, despite the difficulties.The accelerando and gradual increases in tempo which are integral to this piece are in themselves very important musical ideas for new players to grasp, and these will be better understood as a result of playing and learning this arrangement.Other features found in this arrangement which may be new to some inexperienced players are the use of tin mutes in the 1st Cornet/Trumpet part, and the falling chromatic notes (accidentals) found in the melody line. Also, the wide range of dynamics, pp - ff , may be new to some players.I have deliberately not suggested any specific metronome markings as this is very much up to the conductor and is dependant on the players' abilities. However, as the arrangement becomes more familiar, the tempo could no doubt be speeded up adding to the excitement of future performances.The Flexi-Collection ApproachFlexible scoring tailored to your needs - A perfect solution for expanding the repertoire of training and junior brass bands. The Flexi-Collection currently offers two series - Popular Classics and World Tour. Based on four-part harmony, these collections provide groups with the advantage of complete flexibility when they may not be balanced. If players or instruments are missing, the show can still go on!The Flexi-Collection - Popular Classics Series, encapsulates all that is great about the wonderful range of musical styles produced by Holst, Elgar, Handel, Verdi, Tchaikovsky, Grieg, Bizet and Parry.The thoughtful scoring and arranging by Andrew Duncan now means that groups of all abilities have access to a truly flexible set of music for their needs. With world parts, rudimentary theory, terminology translations and large format typesetting, The Flexi-Collection ticks all the boxes when it comes to bringing interesting music to the training and junior band/brass group environment.Available individually or as part of the money-saving Flexi-Collection Popular ClassicsAlbum.Scored for Brass Band and supplied with additional Easy Bb, Easy Eb and world parts - The Flexi-Collection offers flexibility in every sense of the word.
In Stock: Estimated dispatch 3-5 working days
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£44.00
Don't Sit Under the Apple Tree - Stept-Brown-Tobias - Bjorn Morten Kjaernes
"Don't Sit Under the Apple Tree (With Anyone Else but Me)" is a popular song that was made famous by Glenn Miller and by the Andrews Sisters during World War II. Its lyrics are the words of two young lovers who pledge their fidelity while one of them is away serving in the war. Originally titled "Anywhere the Bluebird Goes", the melody was written by Sam H. Stept as an updated version of the nineteenth-century English folk song "Long, Long Ago". Lew Brown and Charles Tobias wrote the lyrics and the song debuted in the 1939 Broadway musical Yokel Boy. After the United States entered the war in December 1941, Brown and Tobias modified the lyrics to their current form, with the chorus ending with "...'till I come marching home".In 1942 the song was featured in the film Private Buckaroo as a performance by the Andrews Sisters with the Harry James orchestra and featuring a tap dancing routine by The Jivin' Jacks and Jills. It was featured in the films Twelve O'Clock High (1949), With a Song in My Heart (1952), Kiss Them for Me (1957), A Carol for Another Christmas (1964), In Dreams (1999) and The Master (2012). It also featured in the mini-series The Pacific. You can use the song both on musical concerts, movie concerts or just as a happy jazz tune on your next concert. On the sections (like from bar 25), please work carefully to make a good balance with all parts, and that each chord is balanced. With 4-part harmonies sometimes you need to hold back certain notes to make the accord sound good. If you want to open up for a longer improvisation, you can repeat 65 to 81, but then change the part 2 in bar 80 from Eb to a D on the repeat. The accord will be an F6 instead of F7 (on beat 3 and 4 in bar 80) Have fun and enjoy!
Estimated dispatch 7-14 working days
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£84.72Chorale Tangents (Brass Band) Kenneth Downie
VIEW SCORE PDF This magnificent work by Kenneth Downie was commissioned by Festival Brass Band of Belgium, and its conductor Manu Mellaerts. It was first performed by the band on 10th October 2010, in Mechelen, a beautiful old city in the province of Antwerp. The composer writes: 'The chorale in the title is the famous one associated with the words 'Now thank we all our God', dating from 17th century Germany. The words were written by Martin Rinkart and the music by Johann Cruger. The use of the word 'tangents' in the title can best be understood as variations. This is another set of variations, in the line of St. Magnus, Princethorpe and Purcell Variations. I still cannot resist the urge to present familiar material in an unfamiliar way! Hopefully, the listener can relate to these tangents, and experience some of the joy that I receive when writing them.' To view a video of Festival Brass Band performing the work please visit: https://www.youtube.com/watch?v=Kc83_BYkZSc Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Instrumentation: Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass Bb Timpani Percussion 1-3
In Stock: Estimated dispatch 1-3 working days
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