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  • £34.95

    Aristotle's Air - Christopher Bond

    Written for & Commissioned by Cory Band for Brass in Concert 2015, Winner of Best New Composition/Arrangement at Brass in Concert 2015The Ancient Greeks believed that there were four elements that everything was made up of: earth, water, air and fire. This theory was suggested around 450 BC, and was later supported and added to by Aristotle. The idea that these four elements - earth, water, air and fire - made up all matter was the cornerstone of philosophy, science, and medicine for two thousand years. Air was considered a 'pure' element, but in fact the air that's all around us is made up of a variety of gasses. Of course, in music, air has a different meaning; a beautiful song-like melody or tune and Aristotle's Air is just that. The work was commissioned by and written for The Cory Band as part of their winning 2015 Brass in Concert programme 'TheFour Elements of the Universe', being premiered at the contest at The Sage, Gateshead, on 15th November 2015. The work was awarded the Cyril Beere Memorial Trophy for the Best New Composition or Arrangement.

    Estimated delivery 5-7 days
  • £34.95

    Of Wind & Weeping - Christopher Bond

    For Flugel Horn & Brass Band, Written for & Commissioned by David James & Tongwynlais Temperance BandThe relationship between Achilles and Patroclus is a key element of the myths associated with the Trojan war.. Its exact nature has been a subject of dispute in both the classical period and modern times. In the lliad, the two heroes have a deep and meaningful friendship. Achilles is tender towards Patroclus, while he is callous and arrogant towards others. Of Wind & Weeping (2015) is a flugel solo, with the soloist representing Greek warrior Achilles and the pain he faces following the death of Patroclus. For a brief moment, Achilles' character shifts from a strong and unbreakable warrior to an emotional and vulnerable character. The solo should be played with expression and feeling, a character who is mourning a loved one with mixed feelings of sadness, shock and vengeance. The work was written in early 2015 for flugel soloist David James and Tongwynlais Temperance Band, with whom he is a member.

    Estimated delivery 5-7 days
  • £10.00

    Paul McGhee: Kjeden

    Subtitled dialogue for Euphonium and Brass Band, Kjeden aims to explore the relationship between soloist and ensemble. The ensemble, rather than merely accompanying; interacts with the soloist and creates soundscapes which become the backdrop for the soloists extended passages. Many instruments from the ensemble become lead lines in the material and there is a constant dialogue between the instruments as each fights for importance. Using the idea of a chain the five sections of the piece are interlinked and the point where one ends and another begins is often blurred and distorted. Each section emerges from the material which precedes it and constantly gives reminders of what has gone before as well as introducing new material.Dance like passages and fast rhythmical sections flow in and out and morph into musical ideas of highly differing character with contrast being the primal element which propels the music and creates momentum. Although the music draws to a definite conclusion, the re-introduction at the end of the piece of motifs and moods that occur at the beginning of the work mean that the music comes full circle, finishing where it began. Indeed, it is the intention that the music in fact has no ending and is to be played on a loop continuously; further blurring the boundaries and becoming an unbroken chain of material.A recording of Kjeden can be heard below (from Paul’s Soundcloud page)and you can see a preview of the solo part here.Duration: c.21 minutes

    Estimated delivery 3-5 days

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  • £36.00

    Ungarsk dans - Trad. - Scott Rogers

    The piece's minor key melody and beat-afterbeat accompagniment give associations to other well-known dances from Hungary, like Czardas and Brahm's famous Hungarian Dances. A lively tempo is an important element to create the energy and excitement we have come to expect in these dances!

    Estimated delivery 12-14 days
  • £79.00

    Expectation - Geir Sundbo

    "Expectation" is composed in a traditional ABA-form. The A-part exploits different rhythmical elements, mixed meters and dissonances while the B-part is calm and melodic with harmonies that challenge the players to "accept" dissonant tones as a colouring element. The composer wishes that this piece makes young musicians curious and interested in the exiting field of new contemporary music.

    Estimated delivery 12-14 days
  • £45.00 £45.00
    Buy from PHM Publishing

    Arthur Bliss - Greetings to a City

    Sir Arthur Bliss (1891 - 1975) was a significant composer and pillar of the British musical establishment. Although Born in London, his father was from the United States and both countries were important in his life and career. In 1953 Sir Arthur was appointed Master of the Queen’s Musick, after which he added a steady stream of fanfares and ceremonial works to his list of works. In 1960 he was commissioned by the American Wind Symphony of Pittsburgh, which requested for festive work to feature on an extensive European tour, including a performance in London.Bliss scored Greetings to a City for two brass choirs each of 2 trumpets, 2 horns and three trombones, with tuba and percussion. This adaptation for brass band instruments retains an element of antiphony by emphasing the contrast between the fanfare instruments (cornets and trombones) and the horns and tubas. Greetings to a City is cast in three connected sections, with extended fanfare episodes separated by a short lyrical interlude.Greetings to a City is recorded by Brighouse & Rastrick Band (David Thornton) on The Music of Bliss and Howells, Doyen CD389? 1969 Robert King Music. Rights transferred to Alphonse Leduc Editions Musicales.This arrangement ? 2018 Robert King Music. All Rights Reserved. International Copyright Secured.Duration: 6 mins 30 secsPHM09 Score and Parts ?45.00; score only ?10.00

  • £24.95

    Battle Ground - Paul Sharman - -

    This duet was written for Hendon Salvation Army band’s annual Hendon Highlights concert, held at the Cadogan Hall in London. The soloists on that occasion were Philip Cobb and David Childs. A Salvation Army song entitled ‘God’s Soldier’ provides the main theme for the piece and the title is taken from a line from the song; ‘where evil reigns his battle ground’. This is a fun piece that gives the soloists an opportunity to show off their ability. The music is fast, lively and exciting and, on the whole, the soloists work together but there are times when there is an element of competition, almost ‘battling’ each other musically.

    Estimated delivery 3-5 days
  • £49.95

    Blaze - Phil Lawrence - -

    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 due to the bore size of instruments and mouthpiece sizes (as in bigger), and, demands of modern day works for band on the player/soloist, and of course a greater demand of styles on the player, and progressive teaching methods. The technical styles in Blaze are about these changes.In Blaze I have clearly blended symphonic blowing styles of the trumpet plus the virtuosic attributes of today's modern cornet player. Many solo cornets parts (more past than present) in band are often clearly defined between low A and top C above the stave. Orchestral trumpet players need a working range of another fourth at either end of this defined range; I have incorporated this range into the concerto. The low register is much explored, and the average tessitura throughout is constantly varied below and above the stave from pedal Eb to super F# opt. The ideology of this blend of course makes sense as the original dedication is to Rod Franks, LSO, and of course blending with that is Rod's history at Black Dyke Mills Band.The concerto is ten minutes long and in one movement comprising of four sections and one solo cadenza, with one section only appearing once, an episode. This singular section was a revised addition and dedicated to Richard Marshall who gave the first premier in New Zealand in June 2003. For the purists the form is thus, A, B, A (vari), C (episode). D (slow movement), E (3/8 episode 1), D (vari), E, (episode 2). A (last move), B, A (developed) = (coda finale).The compositional style? Well, I hope quintessentially, 21st C English with an element of nostalgia (modal/old English). There are some hints at jazz playing styles and rhumba, but romantic English I would say, and especially the slow movement.Blaze is also very bold; the title itself reflects this, full of bravura and constant amazement, offering little respite for the soloist and sapping much stamina. The opening statement from the soloist is without accompaniment; just as a matador stands alone in the ring for the first few seconds, and looks at the mass crowd in defiance, he thinks, "you are here to see me die", so the soloist stares the audience back in the face, and opens with the richest, largest sound (not loudest) one can muster, thus throwing the gauntlet down to the ears of all who might disbelieve what they are about to encounter, a gladiatorial cornet, a Blaze from the stage.For the soloist, it is a non-stop Blaze of sound, electrifying technique, sage-like musicianship, super-human stamina and sheer matador-like bravura with 10th Dan mastery of over-all control, a test beyond the reasonable. And for the audience? Of course, a BLAZE never to be forgotten. Phil LawrenceThis work can be heard performed by cornet soloist Richard Marshall & the Grimethorpe Colliery Band on their award winning album entitled 'BLAZE'

    Estimated delivery 3-5 days
  • £24.95

    Mists on the River Wear - Dan Price - -

    Mists On The River Wear is a ‘song and dance' for solo tuba. It was commissioned in 2010 by the Black Dyke Band's solo Eb Bass player and international tuba star Joseph Cook.The SongThe work opens with unaccompanied tuba announcing a three note motif which is the basis for the entire work. The accompaniment enters in broken cluster chords which emulate the mist gliding on the river at early morning. The mist clears and the river motif appears on tenor horns whilst the tuba melody flows above.Geographically, the River Wear passes past Durham Cathedral and Durham Castle as it works its way through the city and to reflect this musically there is an element of a renaissance dance in the centre of this movement in an attempt to capture the historic and physically dominating presence of these buildings within the city.As the movement draws to a close there is a passage of light scoring which enables the soloist to demonstrate their ability at performing multi-phonics, a haunting sound which is eventually engulfed by the sound of the river broadening out as it travels on its journey.The DanceIn contrast to the lyrical first movement, this second movement showcases the versatility of the instrument and the agility of the soloist in a lively dance.The dance begins in compound time and echoes the style of an English jig which represents the energetic life you find in the university city of Durham. There is a deliberate quote written into the theme of the jig which comes from the 1st Movement of Ralph Vaughan-Williams' Concerto for Bass Tuba, which Joseph and the composer share a fondness towards.A brief return to the riverside opening material of the piece quickly leads us into a pseudo "Jazz" waltz, where cross rhythms between soloist and accompaniment gives the melody a sense of disjointedness and ambiguity. However, the music soon flows back into a reprise of the jig with a closing cadenza section that brings Mists On The River Wear to a close.

    Estimated delivery 3-5 days
  • £34.95

    CONCERT PIECE (Morceau Symphonique) (Trombone Solo with Brass Band Set) - Guilmant - Ray Steadman-Allen

    Guilmant was an organist of the Church of Trinity, Paris and was also a staff member at the Paris Conservatoire. Concert Piece (also known as Morceau Symphonique) consists of a slow prelude followed by a quicker, more brilliant section, the two linked by a cadenza. A lyrical element persists in the second section and there is a brief return to the theme of the prelude following which the music is brought to a fiery and exciting conclusion.

    Estimated delivery 12-14 days