Results
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£34.95SEASCAPES (Brass Band - Score only) - Steadman-Allen, Ray
Seascapes was commissioned for the National Brass Band Championships of Great Britain in 1988.Seascapes takes its inspiration from the poem 'Cargos' by John Masefield. In the first movement, a gentle lyric theme, set against a pulsating background is contrasted with a dance. The dance reaches its climax and the music concludes with a quiet theme. The second movement has something of the nature of a sarabande, with a central section, which is a little lighter but retains a Spanish flavour. The composer adds a whimsical thought of his own that there may also have been a party of monks aboard. A variety of ingredients blend in the third movement: the coaster engines, the sea, some jovial shanty-music and the storm element through which the coaster steadily chugs.Suitable for Championship Section bands.
Estimated dispatch 7-14 working days
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£119.95Windows of the World (Brass Band - Score and Parts) - Graham, Peter
Commissioned by YBS Band, this is a kaleidoscopic six movement sequel to Cry of the Celts. The work provides solo opportunities for several principal players. Peter Graham takes us first to Latin America, then to Japan and onwards to Saharan Africa. We get a gentle reprieve via a nostalgic hint of the British Isles before we land in the melting pot of all styles, the USA. In this final section the driving swing section is abruptly stopped and a drum cadenza leads us back into the opening Latin music. The movements are: Amazonia; Rainforest; The Rising Sun; Drums of Thunder; Celtic Dream; Earth Walk. Any of the movements can be programmed individually. Some movements are recorded on QPRL215D Master Brass (Volume Thirteen). All movements are recorded on QPRL123D Windows of the World. Total Duration: 20:30.
Estimated dispatch 7-14 working days
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£44.95Intrada (Brass Band - Score and Parts - Gregson, Edward
This work was commissioned by the London Borough of Redbridge with funds provided by the Arts Council of Great Britain, and was first performed at the London Festival of 1972 by the Redbridge Youth Band, conducted by John Ridgeon.Intrada is in three sections, the first and last being similar. The middle section unfolds an expansive chromatic melody, heard initially on the horns, but later in canon between cornets and trombones. The work is lively throughout and has strong rhythmic elements as its chief characteristic, including changing time patterns and syncopations.Duration: 6.00
Estimated dispatch 7-14 working days
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Wild Flower Variations - Traditional - Len Jenkins
The theme for this delightful piece is believed to be Spanish and was originally heard in a Mediterranean church over 30 years ago, sung by the local choir accompanied by local musicians. The theme is not stated separately, and the piece begins directly with the First Variation. The following Variations are subtly different from the First, yet both retain the essential warmth of the Mediterranean sun in their harmonic progression. A short Coda rounds off this relaxing and escapist siesta. Time to wake up...The piece is scored to be playable by most Third or Fourth Section bands.
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Paint It Black - Mick Jagger & Keith Richards - Len Jenkins
"Paint It Black" (originally released as "Paint It, Black") was written by Mick Jagger and Keith Richards, and first released as a single on 6 May 1966. It became the Rolling Stones' sixth number one in the UK and has remained influential as the first number one hit featuring a sitar. The song came at a pivotal period in The Rolling Stones' recording history, a time that saw the song-writing collaboration of Jagger and Richards assert itself as the principal composers of the band's original material. Its lyrics are for the most part meant to describe bleakness and depression and describe the extreme grief suffered by one stunned by the sudden and unexpected loss of wife, lover or partner. It famously plays during the end credits of the film Full Metal Jacket. Beginning in the style of an ironic minuet, which can be by-passed by starting at bar 54 where the heavy rock beat takes over, the piece is interesting and within the capabilities of 3rd or 4th section bands. For those bands with a drummer and one percussionist, an alternative percussion part is provided.
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£48.00Concerto for Euphonium - Kenneth Downie
An accessible and enjoyable showpiece for soloists of all ages. The concerto's three movements are in a tuneful, melodic style and bravura passages are mixed with others designed to exploit the singing qualities of the instrument. The first movement is a vigorous allegro in which the short, pithy motifs of the opening theme contrast with the broad sweep of the second subject. A short cadenza-like passage yields to a high-spirited episode before a reprise of the opening ends the movement quietly. The second movement opens with a warm, romantic melody which is soon taken up by the soloist. A short animated section gives way to the earlier tutti theme, this time with passionate decoration from the soloist before the music gently unwinds in a tranquil coda. The finale has a bouncy, festive feel. After the first subject runs its course there is a brief journey through a more contrapuntal style, before a spirited presto moves into a compound episode before returning to the opening idea. A jubilant coda brings the work to a conclusion.
Estimated dispatch 7-9 working days
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£60.00Concerto for Euphonium (Parts only) - Kenneth Downie
An accessible and enjoyable showpiece for soloists of all ages. The concerto's three movements are in a tuneful, melodic style and bravura passages are mixed with others designed to exploit the singing qualities of the instrument. The first movement is a vigorous allegro in which the short, pithy motifs of the opening theme contrast with the broad sweep of the second subject. A short cadenza-like passage yields to a high-spirited episode before a reprise of the opening ends the movement quietly. The second movement opens with a warm, romantic melody which is soon taken up by the soloist. A short animated section gives way to the earlier tutti theme, this time with passionate decoration from the soloist before the music gently unwinds in a tranquil coda. The finale has a bouncy, festive feel. After the first subject runs its course there is a brief journey through a more contrapuntal style, before a spirited presto moves into a compound episode before returning to the opening idea. A jubilant coda brings the work to a conclusion.
Estimated dispatch 7-9 working days
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£62.00Montage (Score only) - Peter Graham
Each of the movements of the symphony take as their starting point forms originating in music of the 16th and 17th centuries. The first, an intrada, introduces the main thematic material (based on the interval of a minor third) in its embryonic state. As the piece progresses, this material is developed and manipulated in a variety of ways. The interval of the third remains central to the overall scheme of the work, even unifying the three movements on a tonal plane (I: F (minor); II: A flat (major); III: C flat (minor). The internal structure of the intrada is an arch form: ABCBA, roughly modelled on the first movement of Concerto for Orchestra by Witold Lutoslawski, to whose memory the movement is dedicated. A chaconne follows - the basic material now transformed into expansive solo lines underpinned by a recurring sequence of five chords (again, a third apart). The movement's structure combines both ternary form and golden section principles and the chaconne's continuous cycle of chords may be visualised as circles. The final movement, a rondo, bears the dramatic weight of the entire work, as the underlying tonal tensions surface. A musical journey ensues, making diversions through lyrical territories as well as through more spiky, jazz-flavoured ones. The aural (and visual) montage is perhaps most apparent towards the climax of the piece, where three keys and polyrhythms sound simultaneously in the upper brass, xylophone, horns, and timpani. The climax itself combines the lyrical music heard earlier with the rondo theme, now presented by cornets and trombones in canon. The teleological thrust of the movement (if not the entire work) can be symbolized by the flight of an arrow, as it steers a predetermined course towards its target. Duration: 16:00
Estimated dispatch 7-9 working days
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£74.00Montage (Parts only) - Peter Graham
Each of the movements of the symphony take as their starting point forms originating in music of the 16th and 17th centuries. The first, an intrada, introduces the main thematic material (based on the interval of a minor third) in its embryonic state. As the piece progresses, this material is developed and manipulated in a variety of ways. The interval of the third remains central to the overall scheme of the work, even unifying the three movements on a tonal plane (I: F (minor); II: A flat (major); III: C flat (minor). The internal structure of the intrada is an arch form: ABCBA, roughly modelled on the first movement of Concerto for Orchestra by Witold Lutoslawski, to whose memory the movement is dedicated. A chaconne follows - the basic material now transformed into expansive solo lines underpinned by a recurring sequence of five chords (again, a third apart). The movement's structure combines both ternary form and golden section principles and the chaconne's continuous cycle of chords may be visualised as circles. The final movement, a rondo, bears the dramatic weight of the entire work, as the underlying tonal tensions surface. A musical journey ensues, making diversions through lyrical territories as well as through more spiky, jazz-flavoured ones. The aural (and visual) montage is perhaps most apparent towards the climax of the piece, where three keys and polyrhythms sound simultaneously in the upper brass, xylophone, horns, and timpani. The climax itself combines the lyrical music heard earlier with the rondo theme, now presented by cornets and trombones in canon. The teleological thrust of the movement (if not the entire work) can be symbolized by the flight of an arrow, as it steers a predetermined course towards its target. Duration: 16:00
Estimated dispatch 7-9 working days
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£42.00Sinfonietta (Score only) - James Curnow
Sinfonietta for Brass Band is basically a short symphony in three movements. The maestoso opening of the first movement introduces the melodic, harmonic, and rhythmic material from which the entire work is structured. The first movement, allegro vivace, is a brilliant capriccio built upon two contrasting melodic lines that are developed throughout the movement. The form is sonata-allegro and it creates an atmosphere of energy and drive. The percussion section opens the second movement and presents the underlying rhythmic ostinato on which this brief but expressive siciliano (pastorale) is developed. Movement three is a rollicking rondo that challenges the technical and rhythmic control of the whol;e ensemble. The brilliant closing fanfare is based on material which has been developed in all three movements.
Estimated dispatch 7-9 working days
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