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£54.95WORLD WITHIN, A (Brass Band Parts) - Scott, Andy
Brass Band parts only. 'A World Within' is a one-movement work that starts with a simple theme stated by the Soprano Cornet before an ostinato figure in 6/8 time emerges (Vibraphone, Horns and muted 2nd and 3rd Cornets) over which firstly Solo Cornet, and then both Solo Cornets (1 & 2), play a sustained melody. A shift between major and minor harmonies characterises the 'B' section, before making way for a virtuosic Flugel solo. When the Flugel leaves centre stage the front line Cornets take over, leading to a full bodied reprise of the 'B' section. The low brass bridge the gap between what is in effect the end of the first main section of the piece and the second section. The constant time shift between 3/4 and 6/8 that has been prevalent through-out 'A World Within', re-emerges towards the end of the 'slow, heavy blues' section, leading into an intricate almost fugue-like passage (Horn and Baritone leading the way). Out of this comes a short transitional bridge section that leads us back to the (transposed) original 6/8 time theme and feel, this time scored with a bold directness that leads to a powerful 2/4 time passage. The climax of 'A World Within' is heralded by one dark and dissonant chord that is repeated three times. A flashback moment occurs where the 'hymn' is stated (muted Cornets) in a bitonal harmonic world. A final statement emerges from the denseness of sound, a re-working of the initial theme (Solo Cornet), with the last work being left to Solo Eb Bass. Dur: 13:00
Estimated dispatch 7-14 working days
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£20.00
WORLD WITHIN, A (Brass Band Score) - Scott, Andy
Brass Band score only. 'A World Within' is a one-movement work that starts with a simple theme stated by the Soprano Cornet before an ostinato figure in 6/8 time emerges (Vibraphone, Horns and muted 2nd and 3rd Cornets) over which firstly Solo Cornet, and then both Solo Cornets (1 & 2), play a sustained melody. A shift between major and minor harmonies characterises the 'B' section, before making way for a virtuosic Flugel solo. When the Flugel leaves centre stage the front line Cornets take over, leading to a full bodied reprise of the 'B' section. The low brass bridge the gap between what is in effect the end of the first main section of the piece and the second section. The constant time shift between 3/4 and 6/8 that has been prevalent through-out 'A World Within', re-emerges towards the end of the 'slow, heavy blues' section, leading into an intricate almost fugue-like passage (Horn and Baritone leading the way). Out of this comes a short transitional bridge section that leads us back to the (transposed) original 6/8 time theme and feel, this time scored with a bold directness that leads to a powerful 2/4 time passage. The climax of 'A World Within' is heralded by one dark and dissonant chord that is repeated three times. A flashback moment occurs where the 'hymn' is stated (muted Cornets) in a bitonal harmonic world. A final statement emerges from the denseness of sound, a re-working of the initial theme (Solo Cornet), with the last work being left to Solo Eb Bass. Dur: 13:00
Estimated dispatch 7-14 working days
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£94.95Waiting for a Pain Hit!??!!? (Brass Band - Score and Parts)
Waiting For a Pain Hit!??!!? was written during November and December 2006 as an entry in the 2006/07 Swiss Brass Band Association Composers Competition. It was later chosen as the Championship Section set test piece for the 2010 Swiss National Brass Band Championships.The piece originates from sketches for a Brass Quintet which was written whilst I was in my second year of studies at the Royal Welsh College of Music and Drama. The piece, now being much more elaborate both musically and structurally than the original, aims to explore the many various textures available to a large brass ensemble. The aims of the piece, from its earliest stages, were mainly exploration of textures as well as dealing with issues of continuity and whilst the piece certainly contains challenging technical elements, they were not a driving force behind its inception and more organically grew from the primary aims of the piece. I was purposefully looking throughout the writing and editing process to create a piece of music with a seamless, ethereal quality to both the structure and the musical content.There are no 'performance directions' throughout the piece, the reasoning for this is explained below. However, I have spent much time and thought over the tempo markings throughout the piece and the tempos throughout the piece are the desired tempi and care should be taken with these. The tempo markings contained throughout the piece form a vital part of the structure and affect the continuity of the piece. Metronome marks contained within a box show the tempo of the new section in relation to the tempo that precedes it by use of metronome modulations. Any alterations to the tempo of the section that precedes it will alter the boxed metronome marks.The title of a piece of music, please forgive my generalisation, is to give an insight into 'what a piece is about'. I suppose that this piece is no different, but with the title being slightly abstract I shall resist the temptation to reveal what it means to me. The title, I feel, needs to be open to interpretation along with the music within. That's the way, with this piece especially, I like my music to be. Freedom to find our own meaning and a way to express it from within the score is vital. It is only then that the piece can take on its own identity and grow in ways that even I might not have imagined, revealing different sides to its personality with each performance.Before the music begins I have included some text. Do these words hold the key to the music?! Can they help??! I DON'T KNOW!!! I just like the rhythms, the pulse and the imagery. Hopefully, all of this can help to create a picture. But let it be your picture...- Paul McGhee, June 2010
Estimated dispatch 7-14 working days
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£29.95The Spirit Within (Brass Band - Score and Parts)
The Spirit Within is meant to represent the human spirit and the capabilities of human emotion, which is portrayed by the harmony in the piece. The harmonic language is the focal point that plays on the relationship between major and minor chords, including lots of extended harmony and suspensions that encompass the main melody.The piece has the ability to show off the quality sound from a brass band whilst providing a thought provoking piece for the audience to enjoy.The Spirit Within is featured on the Grimethorpe Colliery Band CD, Grimthorpe Entertain.
Estimated dispatch 7-14 working days
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£14.95The Spirit Within (Score Only)
The Spirit Within is meant to represent the human spirit and the capabilities of human emotion, which is portrayed by the harmony in the piece. The harmonic language is the focal point that plays on the relationship between major and minor chords, including lots of extended harmony and suspensions that encompass the main melody.The piece has the ability to show off the quality sound from a brass band whilst providing a thought provoking piece for the audience to enjoy.The Spirit Within is featured on the Grimethorpe Colliery Band CD, Grimthorpe Entertain.
Estimated dispatch 7-14 working days
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£125.00The World Rejoicing (Brass Band - Score and Parts)
The World Rejoicing was commissioned by the National Brass Band Associations of Belgium, Netherlands, Norway, Switzerland, and the British Open, as the test piece for their competitions in 2020/21. Although the work was completed in 2019, the pandemic of 2020 meant that these competitions were postponed until 2021/22. The premiere took place in September 2021 at Symphony Hall, Birmingham, UK.In 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 harmonisation 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, which is around 16 minutes in length, 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.Duration: 16.00
Estimated dispatch 7-14 working days
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£40.00
The World Rejoicing (Brass Band - Score only)
The World Rejoicing was commissioned by the National Brass Band Associations of Belgium, Netherlands, Norway, Switzerland, and the British Open, as the test piece for their competitions in 2020/21. Although the work was completed in 2019, the pandemic of 2020 meant that these competitions were postponed until 2021/22. The premiere took place in September 2021 at Symphony Hall, Birmingham, UK.In 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 harmonisation 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, which is around 16 minutes in length, 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.Duration: 16.00
Estimated dispatch 7-14 working days
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£15.00The World Rejoicing (Brass Band - Study Score)
In 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 Crger. 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
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