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£60.99
Cowboy Suite - Alan Laken
In the tripartite 'Cowboy Suite' Alan Laken takes us to the Wild West, the domain of cowboys, indians, trappers and other fortune hunters. Around 1890 the west coast of America was reached, which in effect meant the end of the Wild West. Its stories, however, survived and have been a source of inspiration for many books, films, and, of course, music. Some characters, such as Jesse James, Billy the Kid, and Buffalo Bill are forever linked to these tales. In the 'Cowboy Suite' we first hear the 'Hoedown'. At the end of an exhausting workday the labourers used to lay down their tools, among others the 'hoes' and spontaneously began to play music on the instruments which they then possessed (guitars, fiddles, and banjos) and to dance. After being jolted on the 'Wagon Trail' we reach the third part, the 'Cowboy Roundup'. In this last part it becomes clear that as a cattle driver it is imperative to stay firmly seated in the saddle. As the cattle are rounded up, i.e. driven together, spectacular things happen.
Estimated dispatch 5-14 working days
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£76.99Showtime ! - Sven Van Calster
In this piece, which consists of four contrasting sections in which doubling of parts make it suitable for a wide range of bands. The first part is a kind of musical appetizer which has a heavy disco beat while the second part is a romantic ballad. The third part is inspired by an Irish dance and the last part is a variation of the first part with a spectacular ending. This work makes an ideal challenge for dynamic and young bands.
Estimated dispatch 5-14 working days
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£60.99Fanfare La Perie - Paul Dukas - Peter Wain
In 1911 the Russian impresario Diaghilev commisioned Paul Dukas to compose music for the famous ballet fairy-tale 'La Perie'by Jean Coralli.Fokine was to make a new choreography, so that the Russian ballet company 'Ballet Russes' would be able to perform the piece in Paris that same year. Due to a quarrel between Diaghilev and Dukas about who should dance the title-part, however, the ballet was not performed by the 'Ballet Russes'but by another company in 1912.The ballet 'La Perie' is Dukas' last symphonic work. In 1911 gaf de Russische impresario Diaghilev Paul Dukas opdracht om muziek te componeren voor het beroemde ballet sprookje 'La Perie' van Jean Coralli. Fokine was gevraagd om een nieuwe choreografie te maken, zodat het Russische balletgezelschap 'Ballet Russes' in staat zou zijn om het stuk in Parijs op te voeren in datzelfde jaar. Door een ruzie tussen Diaghilev en Dukas over de vraag wie de hoofdrol mocht dansen, werd het ballet in 1912 echter niet uitgevoerd door het 'Ballet Russes' maar door een ander gezelschap. Het ballet 'La Perie' is het laatste symfonische werk van Dukas.
Estimated dispatch 5-14 working days
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£30.00Roots - Lucy Pankhurst
Commissioned by Katrina Marzella in 2008, this modern 'duet' for Baritone and Euphonium soloists with brass band accompaniment has been inspired by 'nature and environment' as its primary muse. The music takes the listener through 7 stages of environmental atmosphere, in its combination of sounds and effects. It is a very uplifting work and with the back-story in mind (see programme notes below), it makes for an incredibly effective concert feature.Programme notes from the composer, Lucy Pankhurst:There are 7 main sections in the piece :RainGerminationGrowthTransionSunshineRainstormRestThe work begins with Rain, symbolised by the rainstick and 'rain sounds' in the brass , which allows the themes to germinate. The 'roots' of the music themselves, are firmly established in the tonic (root Eb) and 5ths in the low brass, from which the solo lines eventually grow, using triads and 5ths.During Growth, the solo baritone and euphonium begin with separate melodies which begin to twist around each other (much like tree roots), interlocking to produce harmonies and counterpoint, complimenting one another and firmly keeping the music in Eb major. Muted cornets and trombones continue to play overlapping semiquavers, reflecting the raindrops as they fall from the trees and leaves.A brief interlude, featuring brass sextet drives the music back to its Germination stage - here, named Transion, as it grows once more, evolving into something new. The Sunshine section is a dance. Moving rapidly through different keys, the warm sunlight catches on the dewy foliage, creating dazzling moments of clarity and beauty.However, the change in conditions also lead to brief moments of uncertainty, as the various creatures tentatively reappear from their shelter to bask as the earth is warmed. Birdsong can be heard in the solo lines as the entire band join in the celebrations.The jollity does not last long, however, as a Rainstorm, more violent than the last , ensues - stopping the dance in its tracks. The tam-tam and bass drum signify thunder, crashing into the music abruptly. However, the music still survives and re-emerges from the storm, delicately but securely establishing itself into a new key (C major), before softly concluding with the two soloists in rhythmic unison as the rain subsides and the world is at Rest.
In Stock: Estimated dispatch 3-5 working days
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£119.00Decennium - Eric Swiggers
'Decennium' was composed in 2003 as a commission by the municipality of Berheze for its tenth anniversary. The composition describes the history of this town in the Province of Brabant, consisting of 6 different villages: Heesch, Heeswijk, Dinther, Nistelrode, Loosbroek and Vorstenbosch. The composition starts with a slow introduction, Adagio Misterioso, suggesting the atmosphere in long-ago days when the area consisted mainly of swamps, meres and low woods. (The word 'Bern' is a synonym of 'Born' meaning source or water, whereas 'Hese' is derived from 'Haisjo' meaning brushwood ). Above the dark sounds we hear far away trumpet signals announcing the Middle Ages. After a piercing crescendo, we hear the full sound of festive trumpets. A medieval dance, as was to be heard in the Heeswijk castle, follows. This dance gets a more and more stirring character and finally turns into a merry popular dance ending with a burst of laughter reproduced by descending scales with the muted trombones and trumpets. A slow transition with a quotation from a Gregorian plainsong (Domine Deus) and church bell ringing, referring to the Abbey of Berne, brings us to a romantic Larghetto. This part describes the quiet rural life in a beautiful natural surrounding. The last dying note contrasts with the threatening ostinato, referring to the rise of the industrialization, which provoked quite some resistance with the local people. Once more we hear the 'Domine Deus' but much more powerful this time. When the resistance calms down, the work concludes with an Alla Marcia. The first notes of the main theme could be heard all through the composition and now we hear the complete main theme again. The new town is born. A festive conclusion refers both to the tenth anniversary and the optimism and confidence as to the future.
Estimated dispatch 10-14 working days
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£54.95Cornish Pastiche (Brass Band - Score and Parts) - Wiffin, Rob
A three movement suite depicting aspects of Cornish life and culture.The first movement, Sea Shanties, uses two contrasting call-and-response melodies. The second of these is playful in nature and appears in a number of guises, some more discordant than others, reflecting the crew's use of the shanty to let the captain know what they thought of him! Having passed by, the ship disappears into the sea mist. Laments were traditionally reserved for occasions of the death of a member of the clan. In forming the melody for Celtic Lament I had in mind the type of sorrowful song that would suite the elegiac nature of such an occasion.The last movement of the suite attempts to catch the spirit of the Furry Dance, the ancient dance that heralds the coming of spring. It resembles a farandole but is probably better described as an unashamed romp.My intention was to make Cornish Pastiche readily accessible to both players and listeners. The language is unashamedly tonal but is treated with some harmonic twists to add occasional piquancy. The technical demands on the players are meant to be moderate but conductors and players are asked to observe the different layers, especially in the Basse Dance, and not overload the texture with over-zealous weight on the melodic line.- Rob WiffinDuration: 11.15
Estimated dispatch 7-14 working days
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£33.92Finale - Suite No.3 (Brass Band) Tchaikovsky arr. Ruben Schmidt
This arrangement by Ruben Schmidt is the exciting polonaise finale from the last movement of Tchaikovsky's thrilling Suite No.3 in G Major for Orchestra. This was first performed in Saint Petersburg on January 12th, 1885, at the fifth symphony concert of the Russian Musical Society, conducted by Hans von Bulow. The suite also was Tchaikovsky's first American success when it was performed by the New York Symphony Society at Carnegie Hall on May 7,1891. First intended as its own symphony, it became the most played and most successful of Tchaikovsky's four suites. The finale of the last movement is an invigorating polonaise dance to finish the suite. Tchaikovsky often enjoyed conducting this final movement as an independent work himself. To view a rolling score video of the work please visit www.youtube.com/watch?v=M-Ht80Lnk-c Duration: 4.00 minutes Difficulty Level: 1st Section + PDF download includes parts and score. Sheet music available here. Instrumentation: Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass BbTimpani Percussion (Tambourine, Suspended Cymbal & Bass Drum)
In Stock: Estimated dispatch 1-3 working days
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£60.30Caprice (Euphonium Solo with Brass Band) Andrew Batterham
VIEW SCORE PDF Caprice was written for Matthew van Emmerik, to showcase his virtuosity in an engaging piece of concert music. The work is in theme and variation form, with the primary material being the theme from the last of Paganini's Ventiquattro Capricci per violino solo, a collection of 24 caprices for solo violin. This theme has been the inspiration for similar works by many composers since it was first published, including Liszt, Brahms, Rachmaninov, Benny Goodman and Andrew Lloyd Webber. In this work, the famous theme is treated to a more contemporary approach. The first variation, Capricious, relies on motor rhythms and jagged dialogues between the soloist and the band. It is couched in an organic scale reminiscent of the Phrygian mode. The second variation, Sad, is in direct contrast, acting as a traditional ballad and allowing the soloist to explore the expressive side of the instrument. The third variation, Energetic, is a micro set of variations in itself, designed to display the soloist's innovative technique and stamina. Each section is more challenging than the last, until the work concludes with a whirlwind dance at breakneck speed. Like all of Batterham's recent work, the musical language of Caprice draws upon classical, jazz, funk and ska elements to create a unique sound where anything can happen, and probably will. This arrangement was made possible through Matt's instigation and generosity. To view a video of Matthew van Emmerik performing the version with brass band please visit www.youtube.com/watch?v=D0hsvux_a5o To view a video of Fletcher Mitchell performing the version with piano please visit www.youtube.com/watch?v=NOZ6KRldDVo Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Instrumentation: Euphonium Soloist Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass Bb Percussion 1-3
In Stock: Estimated dispatch 1-3 working days
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£89.95Four Etudes (Brass Band - Score and Parts) - Gregson, Edward
This work was written during August and September 2016. In it, I wanted primarily to explore the elements of timbre, rhythm, texture and colour. The first three tudes (or studies) are based on a set of piano pieces I composed in 1982, whilst the last, the longest of the set, was composed specially. My reference point was the Four tudes for orchestra of 1928 by Stravinsky, a work I have always admired, and of which the first three also happen to be based on a set of earlier pieces, in his case for string quartet, with the last being a re-arrangement of a work for pianola. I have also borrowed the titles he gave to the individual studies as they seemed to fit the mood of my pieces.However, the exception is the final study, where instead of the exuberant mood of his colourful portrayal of Madrid, mine was influenced by the terrible human tragedy that was unfolding in Aleppo at the time I was writing it, and thus reflects the violence and barbarism of those events; yet towards the end it does offer a glimmer of hope for humanity with a return to the Canticle (Song) of the first study, and concludes quietly with the chords and bells that began the work. The titles of the tudes are Canticle, Dance, Excentrique, and Aleppo. Like Stravinsky's, the set is relatively short, lasting around 8 minutes.The Four tudes were commissioned by Black Dyke Band and were written specially for the recording marking the conclusion of my year as Composer-in-Residence. The concert premiere will be given by Black Dyke Band, conducted by the composer, at the RNCM Festival of Brass in January 2017.- Edward GregsonDuration: 8.00
Estimated dispatch 7-14 working days
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£37.95Four Etudes (Brass Band - Score only) - Gregson, Edward
This work was written during August and September 2016. In it, I wanted primarily to explore the elements of timbre, rhythm, texture and colour. The first three tudes (or studies) are based on a set of piano pieces I composed in 1982, whilst the last, the longest of the set, was composed specially. My reference point was the Four tudes for orchestra of 1928 by Stravinsky, a work I have always admired, and of which the first three also happen to be based on a set of earlier pieces, in his case for string quartet, with the last being a re-arrangement of a work for pianola. I have also borrowed the titles he gave to the individual studies as they seemed to fit the mood of my pieces.However, the exception is the final study, where instead of the exuberant mood of his colourful portrayal of Madrid, mine was influenced by the terrible human tragedy that was unfolding in Aleppo at the time I was writing it, and thus reflects the violence and barbarism of those events; yet towards the end it does offer a glimmer of hope for humanity with a return to the Canticle (Song) of the first study, and concludes quietly with the chords and bells that began the work. The titles of the tudes are Canticle, Dance, Excentrique, and Aleppo. Like Stravinsky's, the set is relatively short, lasting around 8 minutes.The Four tudes were commissioned by Black Dyke Band and were written specially for the recording marking the conclusion of my year as Composer-in-Residence. The concert premiere will be given by Black Dyke Band, conducted by the composer, at the RNCM Festival of Brass in January 2017.- Edward GregsonDuration: 8.00
Estimated dispatch 7-14 working days
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