Results
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£34.95Judd: The Covenanters
In 1638, many members of the Presbyterian Church of Scotland signed a document called the National Covenant. By doing so, they were declaring that they acknowledged only Jesus Christ as the spiritual head of their church, and not any king or queen. This had become necessary because the Stuart kings believed in the Divine Right of Monarchs and saw themselves as head of the church. In the previous year, Charles I had forcibly introduced the Book of Common Prayer, invoking the wrath of the common people who faced the threat of torture, transportation or execution if they did not use the new liturgy and worship at their local church. The net result of this was that many met illegally in the countryside or in barns and large houses. These meetings became known as 'conventides' and many took place in the south-west of the country. Anyone caught attending was at risk of execution by the muskets of the dragoons who were employed in the area for that specific purpose. This music was written to honour the bravery and loyalty of these Christians to their faith, in the face of extreme danger, in the hope that it will inspire us also to be faithful. There are overtones of military threat, secrecy and solidarity. An old pentatonic tune is used, which the composer heard as a boy being sung to the words The Lord's My Shepherd.
Estimated dispatch 7-14 working days
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£39.95Desert Song Selections
Includes: The Riff Song; One Flower Grows alone in your Garden; One Alone; Romance; Song of the Brass Key; It; The Desert Song; French Military March Song.
Estimated dispatch 7-14 working days
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£22.00
Militarmarsch - Franz Schubert - Thierry Caens
Military March / Marche Militaire
Estimated dispatch 7-14 working days
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£25.00Celebration & Pageantry - Brass Band - LM366
COMPOSER: Tamsin Tate'Celebration and Pageantry' is written to mark the coronation of King Charles III.It includes fanfare elements and an appropriate sense of pomp and regal atmosphere.In the middle, a drum pattern starts, based on the amazing displays of a military drum corps.When performing it a band may even choose to separate the bass drum and snare part and have a percussionist stand to perform using a marching snare drum, highlighting the use of stick and rim beats.A gentler section following this represents the importance of the role he takes on as King and then the final 'crowning' is shown by a climax of full, loud & sustained band.
In Stock: Estimated dispatch 3-5 working days
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£25.00From Waterloo To The Somme - Brass Band - LM774
COMPOSER: Traditional, Rossini, Will D. Cobb & Frederic WeatherlyARRANGER: Laurie JohnstonA great collection of war songs from The Battle of Waterloo to The SommeThe four main melodies in this piece are..1 Over the hills and Far Away.This song dates back as far as Queen Anne but was popular among soldiers during the Napoleonic Wars. Probably the most well known version these days is that by John Tams from the television series Sharpe.2 The Green Hills of Tyrol.This is one of the oldest tunes played by pipe bands today although originally written by Rossini for the William Tell ballet music. Pipe major John MacLeod of the 93rd Sutherland Highlanders heard it played by a Sardinian Military band during the Crimean War and transcribed it for pipes as a tribute to the number of VC's won by Scottish regiments in this conflict. It became very well known when Andy Stewart took the tune for his song The Scottish Soldier.3 Goodbye Dolly Gray.This is a music hall song by Will D. Cobb and was popularised as a Boer War anthem. It was written during the earlier Spanish - American and held it's popularity through to the first world war.4 Roses of Picardy.Written by Frederick Wetherly in 1916 it became a very big hit with the soldiers fighting in the trenches. Picardy is a region of northern France where the Somme battlefields are to be found which among other things possibly accounts for the songs great popularity. It sold on average 50.000 copies a month during the great war.
In Stock: Estimated dispatch 3-5 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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