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  • £35.20

    Changing Home - Hans-Peter Schiltknecht

    Estimated dispatch 5-14 working days

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  • £100.00

    Changing Cells - Fritz Voegelin

    Estimated dispatch 5-14 working days
  • £35.00

    30 Day Technical Challenge

    The 30 Day Technical Challenge This 30 day program is a step by step guide to improve your technique. Each practice session is laid out day by day, exercise by exercise for maximum technical improvement. During the next 30 days you will improve: Breathing Lip Flexibility Single Tonguing Finger Dexterity The Bootcamp will only require a small amount of extra time on top of your normal practice regiment. All you will need is a metronome and your instrument. It does not matter if you are grade 1 or grade 8+ this program will improve your technique. Practice Until Failure If you do not practice until you fail, you are not pushing your technique to its limit. Whether it be squeezing the last drop of air out of your lungs in a breathing exercise, or completing a tonguing exercise until your tongue is completely exhausted, the harder you push yourself the more progress you will see during the 30 days. Taking The Tests Take all 4 tests on day 1. Try to push yourself and reach the highest level possible. There over 20 levels that you can achieve on each test. Start each test from the beginning, playing each exercise at the stated tempo markings before moving on. Exercise 1 corresponds to levels 1 - 5, one level for each tempo written. Levels 6 - 10 are from Exercise 2, 11 - 15 Exercise 3 and 16 - 20 Exercise 4. If you reach level 20, continue changing the tempo on Exercise 4 until you reach failure. Add 1 level for every extra tempo marking completed. Make note of the level you achieve for each test, this will be needed for your comparison at the end of the 30 days. Once you have taken the tests simply follow the calendar and complete the set exercises each day. The weekend practice sessions ask you to repeat the exercises from earlier in the week. This gives you a second chance to push your technique further on each exercise. The Final Test Complete the 4 tests again on day 30 and compare your results. Good luck and enjoy the next 30 days!

    Estimated dispatch 5-7 working days
  • £39.99 £39.99
    Buy from Marcato Brass

    Dardanella | Bernard & Black arr. Dario Salvi

    'Oh Sweet Dardanella, I love your harem eyes. I'm a lucky fellow, to capture such a prize'Dardanella was written in 1919 and became one of the most popular songs of the 1920's selling 13 million copies, going on to become a huge jazz standard covered by the likes of Louis Armstrong and Bing Crosby amongst others.This arrangement for Brass Band by Dario Salvi takes us back to the most famous version of 1920 sung by Vernon Dalhart and Gladys Rice, where the opening calls to mind the sounds of a fairground.Dario's arrangement moves between styles with an almost clockwork sound at one point changing to laid back swing beat at another, all supporting this cheerful melody. An excellent programme filler.Instrumentation:Soprano, Solo, Repiano, 2nd and 3rd CornetsFlugelhornSolo, 1st and 2nd Tenor Horns1st and 2nd Baritone1st, 2nd and Bass TromboneSolo and 2nd EuphoniumEb and Bb BassesPercussion parts:Drum KitXylophoneISMN: 979-0-708127-87-1

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  • £10.00

    Edward Gregson: Concertante for Piano and Brass Band

    DescriptionProgramme NoteThe Concertante for Piano and Brass Band was written in 1966, when the composer was an undergraduate student at the Royal Academy of Music in London. It received its first public concert performance in 1967 at the Royal Festival Hall, London, when the composer was the soloist with the International Band of the Salvation Army, conducted by Bernard Adams. It was one of the first major works to be written for this particular combination.The Concertante is unashamedly romantic in idiom and is in three movements: Prelude, Nocturne and Rondo. The Prelude is cast in sonata form and opens with a short cadenza-like flourish from the soloist, followed by two main ideas - the first sweepingly dramatic, the second highly lyrical. The interplay between these two themes forms the main focus of the movement, and after a return to the opening theme, an exuberant codetta brings the music to a close, albeit a quiet one.https://www.morthanveld.com/wp-content/uploads/2017/09/Gregson-Concertante-1st-movt-clip.mp3The tender Nocturne opens with an introduction from the band that contains precursors of the two main ideas to follow. The solo piano announces the main theme, which has a slightly 'bluesy' character with its flattened third and seventh notes of the scale, and is a love song dedicated to the composer's wife-to-be. The band enters with phrases of a chorale already hinted at in the introduction - Ray Steadman-Allen's hymn tune 'Esher' - but never quite presented in its complete state. Both ideas are developed alongside each other, with eventually the first theme returning, this time with piano and band together, and building to a majestic climax, before subsiding to a peaceful coda - a return to the very opening of the movement.https://www.morthanveld.com/wp-content/uploads/2017/09/Gregson-Concertante-movt-2-clip.mp3The final Rondo is full of energetic rhythms and changing time patterns. The main theme is playful in character, with much interplay between soloist and band, whilst the middle section presents a new theme, and one that has more than a hint of the hymn tune 'Onward Christian Soldiers', in what amounts to a good humoured parody. The opening Rondo theme returns, this time leading to a powerful and dissonant climax from the band. This is followed by an extended piano cadenza, underlying the virtuoso aspect of the work, and leading to an energetic and life-affirming coda, which brings the work to a triumphant conclusion.https://www.morthanveld.com/wp-content/uploads/2017/09/Gregson-Concertante-movt-3-clip.mp3Duration: 18 minutesInstrumentation:Please note that there is no 1st/Repiano Cornet part in this work. The 1st/Repiano Cornet player should join the Solo Cornet bench. As such an extra Solo Cornet part is provided in the set of parts.Version for two pianosA version of the Concertante for two pianos is available for rehearsal purposes. Piano 1 is the solo part and Piano 2 the band reduction. However, for those pianists not needing to rehearse the work in this way, a solo piano part is also provided with the main set of band parts.To view a preview of the solo part for the first movement click here.The youthful Gregson (his work was written as a third year undergraduate) was seemingly a bit of a musical magpie - but one heck of a skilful one at that.These were shiny baubles of poise, panache and pastiche, with affectionate, remarkably mature nods of appreciation towards Gershwin, Rachmaninov, Ireland and even Elmer as well as Leonard Bernstein.The rich colour palette and flowing lines (with the tenderest of central Nocturnes) were a joy - as were the little buds of motifs that dotted the score like seeds ready to be planted on a future fertile brass band compositional field. - Iwan Fox, 4Barsrest.com, June 2019For 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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  • £49.95

    Blaze - Phil Lawrence - Christian Jenkins

    Cornet/trumpet sounds have been changing for some years; they are becoming heavier, more robust, slower vibratos. The dynamic level now pushed out by your average solo cornet is 30% more than it was some 35/40 years ago. This, is mainly...

    Estimated dispatch 4-7 working days
  • £30.00

    Janacek's 'Taras Bulba' - Janacek

    Comments from Tim Paton, the arranger of Janacek's 'Taras Bulba': "I will never forget the day in 1967 when I was introduced to the music of Leos Janacek, a Czech composer born in 1854, who died in 1928. Janacek was little known in Britain until the 1960's, when the conductor Charles Macherras introduced his unique music. I heard a recording of Macherras conducting the Pro Arte Orchestra in a performance of Janacek's "Sinfonietta".It was in 1969 that I first heard Janacek's Symphonic Rhapsody, "Taras Bulba".Janacek's music is exciting, powerful, emotive, impassioned and unpredictable.I have taken the first and third movements of this piece, and adapted them for Brass Band, which was at times extremely difficult, but rewarding. It sometimes took up to an hour to be satisfied that a mere several bars had been reproduced to convey the composer's intentions.The Death of AndriThe Cossaks, under the leadership of Taras Bulba, are fighting against the Poles in the 17th century. Taras's son Andri seeks to rescue his love, a Polish princess, from a city which is being besieged by the Cossaks. Having found her, he throws in his lot with the Poles, but is finally captured by his father, who executes him as a traitor before riding off again to battle.Prophesy and Death of Taras BulbaTaras himself is finally captured and condemned to be nailed to a tree and burned alive. As the flames creep around him, Taras has the satisfaction of seeing histroops escape, and as he dies, sees a vision of his country freed at last.This is incredibly descriptive music. The mood is constantly changing, creating feelings of love and anger, celebration and melancholy, despair and triumph.This Brass Band EditionThe duration of the original symphonic rhapsody, three movements, is approximately 23 minutes. I chose the first and third movements, so the Brass Band edition is approximately 14 minutes. The main reason is twofold: Being realistic about the demands this music would place on the stamina of the brass player; Keeping the piece less than 15 minutes, so that, if desired, it could be used on the contest platform.Two unique qualities of Janacek's music had to be taken into account when preparing this brass band version. His compositional technique was individual, at times not sticking to traditional expectations, in both form and orchestration. I imagined what the genius himself would have said looking at my work, and how to tackle a particular section to emulate his original intentions. This was particularly the case when dealing with high woodwind and violin parts, the use of tremolo in string parts, and the orchestral harp.Percussion: Janacek included timpani, side drum, cymbals, triangle and tubular bells. For reasons stated previously, I have also included xylophone and glockenspiel. I have also added the gong in a couple of places to enhance the dramatic effect of the music.

    Estimated dispatch 7-14 working days
  • £33.00

    Mission Impossible - Schifrin, L - Harper, P

    The main theme from the TV series which was also used in the films.The constant 10/8 rhythm is very effective combined with the ever changing dynamic lines that sit on top.

    In stock: Estimated dispatch 1-3 days

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  • £73.99

    Festivus Americas (Brass Band - Score and Parts)

    Dedicated to the North American Brass Band Association, this is music that is full of energy and dynamic extremes. In form it draws from the overture style, although the themes are self-existing and the piece is programmatic. Working well as a festival opener, it sets a mood of excitement. Following the rhythmic fanfares of the opening, the first theme is presented in the cornets followed by a return to the same rhythmic material. A second theme appears in the horn section and is developed, changing into a darker and sinister form of the same motif. Eventually a Maestoso section is reached, full of sustained block chords in the cornets and trombones, as the rest of the band counters with cascading lines that weave straight through the brighter instruments. Duration: 5.00

    Estimated dispatch 7-14 working days