Results
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£54.99Step Aside - David Well
Excuse me, may I play along? Could you step aside, please? 'Step Aside' is a pleasant competition both between two tempi and among the different parts. After a short, slow introduction it is the drummer who, without asking the questions above, sets the high pace. As soon as this rapid movement has been established, 'part 1' takes the lead, but the other parts obviously don't want to miss a thing and follow in rapid succession. At the end of the composition the various parts 'compete' in order to be able to play solo for a while, but soon others join in again, asking 'Excuse me, may I play along?'
Estimated dispatch 5-14 working days
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£15.99Brass Essentials - An Arban Companion (for all valve instruments)
Brass Essentials: An Arban Companion works through the Arban Cornet Method in the sequence that the excerpts appear in the original publication. It is not a method in itself, but a way to address the building blocks of a solid technique - good sound, good intonation, developing technical skills and applying rhythmic accuracy. It is suitable for all valve instruments.Simply choose which of the sections applies to the issues you are facing in your playing at any given time. Advice is given at the head of each section on how to deal with the technical processes involved for that particular area of practice as well as suggestions on rehearsal and performance tempi.A regular approach to the most basic aspects of playing a brass instrument will help maintain a strong technique whilst addressing any problems that may occur during your playing life, as they do from time to time. It can also provide a regular practice diet that will encourage real attention to detail.Brass Essentials: An Arban Companion can be used as a resource for teachers helping players starting out on their musical journey, but also performers at any point in their musical life as a back-to-basics approach is often the way forward when dealing with playing issues. The overriding principle is that every note counts!Section Headings : Set-Up, Articulation and Sound; Light Articulations; Syncopation, Spacing and Rhythm; Single Tonguing; Controlled Slurring Technique; Running Scales and Chromatics; Breathing, Shaping and Phrasing; Arpeggios, Dominant Sevenths and Diminished Sevenths; Triple Tonguing; Double Tonguing; The Studies
Estimated dispatch 7-14 working days
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£14.82Finale from Symphony No.3 (Organ Symphony) (Brass Band) Additional Parts
Saint-Saens' magnificent Finale from Symphony No.3 (widely known as the 'Organ Symphony') has here been arranged for brass band with optional organ by Kevin Norbury. It was recorded by The International Staff Band on its CD Manuscripts, although this version has been revised in places. Saint-Saens decided to add the organ and piano to his 3rd symphony as a pragmatic orchestration innovation. The composition of this symphony was probably started in 1885 and a first draft was completed in Prague in 1886. Saint-Saens later recalled its eventful genesis: 'The Symphony in C was three-quarters sketched out when I found it impossible to write the finale. I did not know how to resolve this situation, until one night I suddenly woke up and, in a sort of hallucination, I heard the whole finale, which I hastily wrote down in outline, knowing that if I went back to sleep without having put anything on paper, I would have forgotten it all the next day.' The symphony was first performed under the composer's direction at Saint James's Hall in London on May 19, 1886. This arrangement by Kevin Norbury can both function as a stand-alone brass band piece, and be performed with an organ by omitting the notes found in square brackets in the parts and score. To view a rolling score video please visit www.youtube.com/watch?v=OlUd_FppBY8 PDF download includes additional parts as listed below. Full set including score available here. Sheet music available from: UK - www.brassband.co.uk USA - www.cimarronmusic.com Difficulty Level: 1st Section + Length: 8.30 mins. Alternative Parts included in this download: Solo Horn F 1st Horn F 2nd Horn F 1st Baritone B.C. 2nd Baritone B.C. 1st Trombone B.C. 2nd Trombone B.C. Euphonium B.C. Tuba 1 B.C. (Bass Eb equivalent) Tuba 2 B.C. (Bass Bb equivalent)
In Stock: Estimated dispatch 1-3 working days
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£48.15
Finale from Symphony No.3 (Organ Symphony) (Brass Band) Saint-Saens arr. Norbury
Saint-Saens' magnificent Finale from Symphony No.3 (widely known as the 'Organ Symphony') has here been arranged for brass band with optional organ by Kevin Norbury. It was recorded by The International Staff Band on its CD Manuscripts, although this version has been revised in places. Saint-Saens decided to add the organ and piano to his 3rd symphony as a pragmatic orchestration innovation. The composition of this symphony was probably started in 1885 and a first draft was completed in Prague in 1886. Saint-Saens later recalled its eventful genesis: 'The Symphony in C was three-quarters sketched out when I found it impossible to write the finale. I did not know how to resolve this situation, until one night I suddenly woke up and, in a sort of hallucination, I heard the whole finale, which I hastily wrote down in outline, knowing that if I went back to sleep without having put anything on paper, I would have forgotten it all the next day.' The symphony was first performed under the composer's direction at Saint James's Hall in London on May 19, 1886. This arrangement by Kevin Norbury can both function as a stand-alone brass band piece, and be performed with an organ by omitting the notes found in square brackets in the parts and score. To view a rolling score video please visit www.youtube.com/watch?v=OlUd_FppBY8 PDF download includes score and parts. Additional parts (Horn in F and Baritone, Trombone, Euphonium & Tuba in Bass Clef) available here. Sheet music available from: UK - www.brassband.co.uk USA - www.cimarronmusic.com Difficulty Level: 1st Section + Length: 8.30 minutes 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 Bb Timpani Glockenspiel Percussion Organ (optional)
In Stock: Estimated dispatch 1-3 working days
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£65.00Second Suite in F - Brass Band Sheet Music Full Score & Parts - LM602 - Gustav Holst
COMPOSER: Gustav HolstTRANSCRIBED : Daniel S. AugustineA brand transcription from Holst's manuscript score for brass band.A very authentic version from the original for Military Band.Can be used as a testpiece in your next own choice contestSuitable for Section 3 bands upwardsSecond Suite in FOp. 28, No. 2 (1922)1. MarchThe "March" of the Second Suite begins with a simple five note motif between the low and high instruments of the band. The first folk tune is heard in the form of a traditional British brass band march using the morris-dance tune "Glorishears". After a brief climax, the second strain begins with a euphonium solo playing the second folk tune in the suite "Swansea Town". The theme is repeated by the full band before the trio. For the trio, Holst modulates to the unconventional subdominant minor of Bb minor and changes the time signature to 6/8, thereby changing the meter. Usually one would modulate to subdominant major in traditional march form. While Sousa, reputably the "king of marches", would sometimes change time signatures for the trio (most notably in "El Capitan"), it was not commonplace. The third theme, called "Claudy Banks",[2] is heard in a low woodwind soli, as is standard march orchestration. Then the first two tunes are repeated da capo.2. Song without Words "I'll Love My Love"Holst places the fourth folk song, "I'll Love My Love" in stark contrast to the first movement. The movement begins with a chord and moves into a solo over a flowing accompaniment. The solo is then repeated, forming an arc of intensity. The climax of the piece is a fermata, followed by a cornet pick-up into the final measures of the piece.3. Song of the BlacksmithAgain, Holst contrasts the slow second movement to the rather upbeat third movement which features the folk song "A Blacksmith Courted Me". There are many time signature changes (4/4 to 3/4) making the movement increasingly difficult because the accompaniment has a pick up on the up-beats of each measure. The band joins in on the melody around the body of the piece and are accompanied with the sound of a blacksmith forging metal with an anvil called for in the score. The final major chord has a glorious, heavenly sound, which opens way to the final movement.This chord works so effectively perhaps because it is unexpected.4. Fantasia on the "Dargason"This movement is not based on any folk songs, but rather has two tunes from Playford's Dancing Master of 1651. The finale of the suite opens with a solo based on the folk tune "Dargason", a 16th-century English dance tune included in the first edition of The Dancing Master. The fantasia continues through several variations encompassing the full capabilities of the band. The final folk tune, "Greensleeves", is cleverly woven into the fantasia by the use of hemiolas, with Dargason being in 6/8 and Greensleeves being in 3/4. At the climax of the movement, the two competing themes are placed in competing sections.As the movement dies down, a duet forms a call back to the beginning of the suite with the competition of low and high registers.The name 'dargason' may perhaps come from an Irish legend that tells of a monster resembling a large bear (although much of the description of the creature has been lost over time), the Dargason tormented the Irish countryside. During the Irish uprising of the late 18th century, the dargason is supposed to have attacked a British camp killing many soldiers. This tale aside, 'dargason' is more likely derived from an Old English word for dwarf or fairy, and the tune has been considered English (or Welsh) since at least the 16th century. It is also known as 'Sedony' (or Sedany) or 'Welsh Sedony'.
In Stock: Estimated dispatch 3-5 working days
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£30.00Smooth Operator - Brass Band Sheet Music Full Score & Parts - LMAM032
COMPOSER: Ray St. John & Helen AduARRANGER: David Beal"Smooth Operator" is a song by English band Sade from their debut studio album, Diamond Life (1984), and was co-written by Sade Adu and Ray St. John. It was released as the album's third single in the United Kingdom as a 7-inch single with "Spirit" as its B-side, and as a 12-inch maxi single with "Smooth Operator" and "Red Eye" on side A and "Spirit" on side B. Released on 28 August 1984, it reached number 19 on the UK Singles Chart.In the United States, "Smooth Operator" was released in February 1985, serving as the album's second US single. The song became Sade's first top-10 entry in the US, peaking at number five on the Billboard Hot 100 for two weeks in May 1985. It spent 13 weeks in the top 40, and also topped the Billboard Adult Contemporary chart for two weeks.Although "Your Love Is King" remains Sade's highest-peaking single in the UK to date, "Smooth Operator" is the band's breakthrough single on the US charts, and their most successful single internationally.Scored here for British Brass Band.Any purchases from this site cannot be made please click on the link above
In Stock: Estimated dispatch 3-5 working days
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£54.99Amazing Grace (Brass Band - Score and Parts) - De Haan, Jacob
Jacob de Haan arranged the famous piece Amazing Grace for four-part variable ensemble, which may be complemented with percussion. With this instrumentation, it is possible to play the piece with almost any combination of instruments. The piece opens with the song theme, which after a modulation, flows into an intermezzo, characterized by a free interpretation of the theme. The interlude reaches a climax introducing the finale where the melody can be heard once again in all its beauty.Duration: 2:30
Estimated dispatch 7-14 working days
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£44.95Metropolis 1927 (Brass Band - Score only) - Graham, Peter
Fritz Lang's 1927 science fiction epic Metropolis is considered to be a masterpiece of cinematic vision and a high point of German Expressionist filmmaking. Set in a future dystopian world the film introduces the viewer to two contrasting communities living in the vast city of Metropolis. Those above ground live a life of privilege and pleasure serviced by the underground-dwelling drone workers whose role is to maintain and operate the banks of machines which provide the city's power.Lang's film, which can be considered a type of 20th century morality play, draws upon a range of themes and influences from Marxist ideals and social satire to overt religious symbolism.The music does not attempt to precis the plot, such as it is, but simply reflects my musical responses to Lang's noirish visual style and set designs - the brooding machine rooms, the decadent nightclubs, the gothic cathedral and so on - paradoxically a world of terrifying beauty.Metropolis 1927 was commissioned by Bramwell Tovey and The National Youth Brass Band of Great Britain with funds provided by The Arts Council of England. The first performances took place in the Winter Gardens, Weston-super-Mare on Saturday 19th April and in the Cheltenham Town Hall on Sunday 20th April 2014.This revised version was premiered by The Black Dyke Band, conductor Nicholas Childs, at the 38th European Brass Band Championships in the Konzerthaus Freiburg, Germany, on Saturday 2 May 2015.- Peter GrahamDuration: 15.00
Estimated dispatch 7-14 working days
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£124.95
Metropolis 1927 (Brass Band Set - Score and Parts) - Graham, Peter
Fritz Lang's 1927 science fiction epic Metropolis is considered to be a masterpiece of cinematic vision and a high point of German Expressionist filmmaking. Set in a future dystopian world the film introduces the viewer to two contrasting communities living in the vast city of Metropolis. Those above ground live a life of privilege and pleasure serviced by the underground-dwelling drone workers whose role is to maintain and operate the banks of machines which provide the city's power.Lang's film, which can be considered a type of 20th century morality play, draws upon a range of themes and influences from Marxist ideals and social satire to overt religious symbolism.The music does not attempt to precis the plot, such as it is, but simply reflects my musical responses to Lang's noirish visual style and set designs - the brooding machine rooms, the decadent nightclubs, the gothic cathedral and so on - paradoxically a world of terrifying beauty.Metropolis 1927 was commissioned by Bramwell Tovey and The National Youth Brass Band of Great Britain with funds provided by The Arts Council of England. The first performances took place in the Winter Gardens, Weston-super-Mare on Saturday 19th April and in the Cheltenham Town Hall on Sunday 20th April 2014.This revised version was premiered by The Black Dyke Band, conductor Nicholas Childs, at the 38th European Brass Band Championships in the Konzerthaus Freiburg, Germany, on Saturday 2 May 2015.- Peter GrahamDuration: 15.00
Estimated dispatch 7-14 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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