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  • £30.00

    Paddy's Dance - Brass Band - Strauss

    Based on the old Celtic Jig. Paddy's Dance open with percussion and a Xylophone feature.

    Estimated dispatch 3-5 working days
  • £12.00

    Dragon Dances

    DescriptionDragon Dances was commissioned by Owen Farr, who is also the work's dedicatee, gave the first performance with the Cornwall Youth Band conducted by Richard Evans on 5 April 2010 and has recorded it on his solo CD "A New Dawn" accompanied by the Cory Band conducted by Philip Harper.Being a Welsh composer, writing music for a Welsh soloist, I was naturally keen to reflect this in the music, and I drew inspiration from two particularly Welsh concepts - "hiraeth" and "hwyl". "Hiraeth" is a word that has no direct translation into English, but an approximation would be 'yearning for home'. Like the other celtic nations, Wales has a widespread diaspora of people who left to seek new lives out in the empire and "hiraeth" is a way of summing up the homesickness felt by these exiles, some of whom return each year for a special ceremony at the Royal National Eisteddfod. "Hwyl" is an even more complicated word, variously meaning ecstatic joy, fervour, equable temperament and even the characteristic sing-song oration style of the great Welsh Methodist preachers.I have attempted to make the music reflect both of these, with the melancholy first part of the work inspired by the hymns and solo songs for which Wales is famous, and the second part having a much more dance-like, joyful quality.Performance Notes:2 solo cornets, 2nd and 3rd cornets require cup mutes. 2 solo cornets require harmon mutes with tubes removed (marked 'TR' in the score).1st horn and 1st baritone require straight mutes, preferably fibre.1st trombone requires a straight mute, 2nd and bass require cup mutes.Percussion instruments required are vibraphone, glockenspiel, timpani, snare drum, suspended cymbal and tam tamWatch/Listen to the score below:

    Estimated dispatch 7-14 working days
  • £10.00

    The Once and Future King

    DescriptionThe Once and Future King is a suite of three movements; each movement was inspired by an Arthurian legend. The first movement, 'Tintagel', concerns the famous Cornish promontory said to be the birthplace of King Arthur. In Arthur's time, Tintagel was part of the court of King Mark of Cornwall and the music imagines a visit by the King of the Britons to his Cornish neighbour and the place of his birth, reflecting the ceremony and drama of such an occasion; the music is strongly antiphonal, contrasting the more strident fanfares of the cornets and trombones with the warmth of the saxhorns and tubas.The second movement, 'Lyonesse', takes its inspiration from the mythical land which once joined Cornwall to the Isles of Scilly. One legend claims that after the disastrous battle of Camlan where Arthur and Mordred were both killed, the remnants of Arthur's army were pursued across Lyonesse to Scilly, whereupon Merlin cast a spell to sink Lyonesse behind them and drown the pursuers. Some say the bells of the 140 churches inundated that day can still be heard ringing. All the material in this movement derives from two short motifs heard in counterpoint at the very beginning, which are intentionally dissonant and bitonal in character.The final movement, 'Badon Hill', takes its title from the legendary site of Arthur's last battle with the Saxons and is a lively toccata based on the medieval secular song L'Homme Armee ('The Armed Man'). The music uses a number of medieval devices including "hocketing" (passing melody from one voice to another). The actual site of Badon Hill is unknown but it has been associated with Badbury Rings in Dorset and a lot of evidence now points towards the town of Bath. Arthur's victory at Badon Hill was the last great victory for Celtic Britain over the Saxon invaders, but in the end only set the conquest back by a few decades. Arthur himself was dead by then, betrayed and defeated by his nephew Mordred, but it is said that Arthur only sleeps and will return in a time of dire need - hence the legend that Arthur's dying words were: Bury me in Britain, for I am the Once and Future King.Performance NotesWhere space and practicality permits the opening movement should be played with cornets and trombones standing behind the band facing the audience; they should retake their seats for the second and third movements.PercussionConcert Bass Drum (ideally NOT Kit/Pedal Bass Drum), Suspended Cymbal, pair of Clash Cymbals, Glockenspiel, Snare Drum, Tambourine, 2 x Timpani (Eb-G, Bb-D), 2 x Tom-toms, Triangle, Tam-Tam* (only if available), Tubular Bells *(only if available).MutesBaritones, all cornets and trombones will require metal straight mutes; all trombones and cornets will require cup mutes.*The Once and Future King was set as the test-piece for the 3rd section of the Swiss National Championships in 2007. The score was then slightly revised in July 2008, the main alteration being the exclusion of the tubular bells part for the Regional Championships of Great Britain in 2009. Some parts which were optional (or cued on other instruments) at the request of the Swiss Brass Band Association were restored to their original octaves and instruments. In 2015 the tubular bells part was restored in the optional Percussion 3 part; all parts in Percussion 3 are optional, although some are cued in the percussion 1 & 2 parts (and the cues should be played if only two players are available).Listen to a preview and follow along with the score below!

    Estimated dispatch 7-14 working days
  • £29.95

    Island Whirl - Paul Lovatt-Cooper

    Commissioned by Margaret Milligan for Ian, her husband who is the musical director of Callendar Brass, based in Callendar near Stirling in Scotland. With Celtic drums and the use of the Scottish traditional song 'An Eriskay Love Lilt' the piece works very well as a lively concert/2nd half opener or even as a piece to liven up the middle of a concert programme. Circa 3'30".

    Estimated dispatch 5-7 days
  • £29.95

    Song for the Skies - Paul Lovatt-Cooper

    Commissioned by tuba virtuoso Les Neish this piece is a simple yet beautiful solo for the E flat Tuba. It is a slow melody with a nice Celtic feel to it and is suitable for all tuba players who enjoy playing slow melodies. Circa 3'20". Soloist: Grade 4 ABRSM

    Estimated dispatch 5-7 days
  • £24.95

    Ar Lan y Mor (On the Sea Shore) - Welsh Traditional - Leigh Baker

    Ar Lan y Mor is a Welsh love song which translates simply as 'on the sea shore'. Leigh Baker's skillfully crafted arrangement of this beautiful song begins with muted euphonium lamenting over a traditional Celtic drone featuring bowed vibraphone. Ar...

    Estimated dispatch 4-7 working days
  • £22.50

    Ellan Vannin (Traditional Isle of Man) - Traditional

    While this melody is not the Island's National Anthem, it can be called it's National Song. (Ellan Vannin in Manx for the Isle of Man.) I arranged this as a surprise encore to my programme for what turned out to be last Granada 'Band of the Year' Contest, in 1987. (I won with Foden, by the way.) Anyone who has experienced the fervour which this small Celtic/Norse nation puts into its singing will know the force of their pride and patriotism ! Yindyssagh ! (Wonderful !)

    Estimated dispatch 5-7 working days
  • £35.00

    A Manchester Tale - Andrew Duncan

    This stunning piece depicts life in the City of Manchester in the years surrounding the Second World War and the effect these years had on the citizens of Manchester. It's a striking work, with creativity and colour, overflowing with emotion and atmosphere. For maximum effect, it even includes an optional part for a wartime siren which announces the start of an air raid attack.Winner of 'Best New Work' at Spennymore Brass Band Contest in 2000 (played by the Grimethorpe Colliery Band conducted by Garry Cutt), and featured on the Sellers Band CD, Celtic Connections.Look and Listen (performance courtesy of RNCM Brass Band at Unibrass 2018):

    Estimated dispatch 7-14 working days
  • £25.00

    In The Bleak Midwinter

    A great arrangement from a young arranger, Gregor Beattie.An innovative and inspirational approach to this traditional carol, the music flows with beauty and imagination. A strong and passionate development section gives the carol a very striking celtic, Braveheart-esque moment which really brings the arrangement to another level.A perfect way to bring new content to your Christmas concert whilst maintaining a traditional feel.

    Estimated dispatch 7-14 working days
  • £37.95

    The Irish Blessing (Score and Parts) - Joyce Eilers Bacak arr. Stephen Bradnum

    The Irish Blessing is a celtic gem - the words of the traditional benediction aptly portrayed in music which is both affirming and uplifting. This finely crafted and sensitively scored arrangement provides an excellent training vehicle for bands of all ages, helping to develop dynamic range; integrate solo and tutti, and at the same time enteraining an audience! Perfect for devotional or concert use. The Irish Blessing May the road rise up to meet you. May the wind be always at your back. May the sunshine warm up on your face, The rains fall soft upon your elds. And until we meet again, And until we meet again. May the God that loves us all Hold you in the palm of his hand. Amen, Amen, Amen. Duration: 3 minutes

    Estimated dispatch 5-7 working days