Results
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£39.99You Know my Name
ABOUT THIS PIECE: Bring the iconic energy of Casino Royale to your next programme with Adam D J Taylor's electrifying arrangement of "You Know My Name." Originally performed by Chris Cornell, this powerful theme blends hard rock elements with sweeping orchestration, embodying the grit and sophistication of the James Bond franchise. ENSEMBLE: Standard British Brass Band WHEN YOU BUY THIS PRODUCT, YOU GET: High-quality printed score and parts LEVEL: 2 LISTEN: DURATION: 3-minutes, 30 secondsEXAMPLE SCORE: Click here COPYRIGHT NOTICE: Due to copyright law, this item is only available in: UK AND EUROPE LEVEL GUIDE: Level 1- Accessible to all Level 2 - c. UK third section and higher Level 3 - c. UK second section and higher Level 4 - c. UK first section and higher Level 5 - c. UK championship section level
Estimated dispatch 5-7 working days
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£38.00Monteverdi Three Miniatures
ABOUT THIS PIECE: Monteverdi - Three Miniatures, is an engaging and educational brass band arrangement by Adam Taylor, originally composed for the British Open Youth Brass Band Contest at the Guild 2015. This piece masterfully reimagines themes from the works of Claudio Monteverdi, presenting them in a contemporary style that's both accessible and inspiring for modern brass ensembles. Ideal for youth bands and ensembles looking to explore early music in a fresh format, Monteverdi - Three Miniatures offers flexibility and creativity. The arrangement includes adaptable tempos to match your interpretation, a featured duet with parts available in both Bb and Eb, and written percussion parts that can be expanded with additional instruments or streamlined for smaller sections. Players are encouraged to add their own ornamentation, allowing for personal expression and an authentic touch to the music. With its nod to the grandeur of the late Renaissance and early Baroque periods, this piece serves not only as an excellent concert addition but also as a valuable educational tool, introducing young musicians to Monteverdi's timeless work. Dive into this vibrant arrangement and bring the essence of Monteverdi's genius to your next performance. ENSEMBLE: Standard British Brass Band (with adaptations) WHEN YOU BUY THIS PRODUCT, YOU GET: High-quality printed score and parts LEVEL: 1 LISTEN: Click here DURATION: 5-minutes, 30-secondsEXAMPLE SCORE: Click here LEVEL GUIDE: Level 1- Accessible to all Level 2 - c. UK third section and higher Level 3 - c. UK second section and higher Level 4 - c. UK first section and higher Level 5 - c. UK championship section level
Estimated dispatch 5-7 working days
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£29.95Boy King, The - Jonathan Bates
DURATION: 3'00". DIFFICULTY: 4th+. . 'THE BOY KING' is a short concert work for brass band inspired by the life and times of the ancient Egyptian Pharoah, . Tutankhamun. It was believed he was between the ages of 8 and 9 years old when ascending to the throne of Egypt and. reigned for a decade until his premature death aged only 18 or 19. The music utilises a number of typical middle-eastern. modes and scales accompanying a heavy yet lively rhythmic pulse driven by the percussion. .
In Stock: Estimated dispatch 1-3 working days
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£10.00Endurance
DescriptionMen wanted for hazardous journey. Small wages, bitter cold, long months of complete darkness, constant danger, safe return doubtful. Honour and recognition in case of success. - Ernest Shackleton, 4 Burlington StreetEndurance takes its title from the ship used by Sir Ernest Shackleton's Imperial Trans-Antarctic Expedition in 1914-15. After many months of fundraising (and reputedly running the above advert in The Times) the Endurance set sail from Plymouth on 6 August 1914. Whilst at sea news of the outbreak of war led Shackleton to put his ship and crew at the disposal of the Admiralty, but their services were not required and they were encouraged to continue. On October 26 1914 they left Grytviken on South Georgia for the Antarctic continent, hoping to find the pack ice shrinking in the Antarctic spring. Two days later, however, they encountered unseasonable ice which slowed their progress considerably. On 15 January 1915, when Endurance was only 200 miles from her intended landfall at Vahsel Bay, the ship became beset by ice which had been compressed against the land to the south by gale force winds. Trapped in the ice of the Weddell Sea, the ship spent the Antarctic winter driven by the weather further from her intended destination until, on 21 November 1915 Endurance broke up forcing the crew to abandon ship and set up camp on the ice at a site they named "Patience Camp".The crew spent several weeks on the ice. As the southern spring started to reduce the extent of the ice shelf they took to their three lifeboats, sailing across the open ocean to reach the desolate and uninhabited Elephant Island. There they used two of the boats to build a makeshift shelter while Shackleton and five others took the largest boat, an open lifeboat named the 'James Caird' and sailed it for 800 terrifyingly dangerous miles across the vast and lonely Southern Atlantic to South Georgia - a journey now widely regarded as one of the greatest and most heroic small-boat journeys ever undertaken. After landing on the wrong side of the island and having to climb over a mountain range in the dark with no map, Shackleton and his companions finally stumbled back into the Grytviken whaling station on 19 May 1916.After resting very briefly to recover his strength, Shackleton then began a relentless campaign to beg or borrow a ship to rescue the rest of his crew from Elephant Island; whaling ships were not strong enough to enter polar ice, but on 30 August 1916, over two years after their departure from Plymouth, Shackleton finally returned to Elephant Island aboard a steam tug borrowed from the Chilean government. Although some were in poor health, every member of the Endurance crew was rescued and returned home alive.Endurance is dedicated to the memory of my mum, who passed away in September 2017.Listen to a computer generated preview and follow the score below:
Estimated dispatch 7-14 working days
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£67.00
Reminiscences - Hans Offerdal
"The past is never dead. It's not even past." - William FaulknerTo the conductor: Slurs in accompanying voices can be seen as indicating the phrasing only, thus breathing is possibe when necessary. It will be the challenge of the conductor to shape this as soft and sostenuto as possible (almost like strings), if needed assign appropriate places to breathe, depending on size and level of the band.Duration: 4 min
Estimated dispatch 7-14 working days
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£79.00
Bring Him Home (From "Les Miserables") - Boublil-Kretzmer-Schoenberg - Bjorn Morten Kjaernes
The novel by Victor Hugo which the story of this musical is based on, received only limited success in France when it was published. After translating the entire piece into English and adding a a great deal of new material it was still very poorly recieved in London ad well. But satisfied audiences spread the word and soon the ticket sales went through the roof. The show is now in it's 25th year in London!
Estimated dispatch 7-14 working days
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£35.00
Match Day - Peter Meechan
Match Day takes itas inspiration from a night in May 2005, when the team I have supported from my childhood, Liverpool FC, won the European Cup in what was considered by many to be one of the greatest football matches of all time.The piece is not only inspired by a football match, but also takes its musical material from chants and songs that you will hear at 3PM on a Saturday afternoon at any football ground in the country.Match Day was written as a result of a commission from the National Youth Brass Band of Great Britain, and their Musical Director, Bramwell Tovey, to whom the piece is dedicated.First performance:National Youth Brass Band of Great BritainBramwell Tovey - Conductor
Estimated dispatch 12-14 working days
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£34.95Introduction, Theme and Variations - Gioachino Rossini - Christian Jenkins
Introduction, Theme and Variations for Clarinet and Orchestra was composed in 1808 when the composer was only eighteen. It was written, in all probability, for the fabulous Milan virtuoso Ernesto Cavallini. Beginning with chords reminiscent of the opening of the...
Estimated dispatch 5-7 working days
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£19.65Adam Zero, Suite from (Brass Band - Study Score) - Bliss, Arthur - Childs, Robert
Selected as the Section 2 test piece for the National Brass Band Championships of Great Britain 2025Following his ballet Checkmate, Bliss composed another score for the, by then, Sadler's Wells Ballet, Miracle in the Gorbals, which was choreographed by Robert Helpmann, to a scenario by Michael Benthall. Premired in 1944, the ballet made a considerable impact and was a box-office success. It was followed in turn by a further collaboration with Helpmann and Benthall, Adam Zero. This would serve Helpmann, in the eponymous role, as a vehicle in two respects: demonstrating his gifts as a dancer-actor and as a choreographer. First performed at the Royal Opera House, Covent Garden, on 8 April 1946, Adam Zero was conducted by Constant Lambert, the work's dedicatee. Bliss considered it 'his most varied and exciting ballet score'. Benthall provided a synopsis for the programme:There is a philosophy that life moves in an endless series of timeless cycles. As Nature passes through Spring, Summer, Autumn and Winter, so man is born, makes a success in his own particular sphere, loses his position to a younger generation, sees his world crumble before his eyes and only finds peace in death. This age-old story is told in terms of a Company creating a ballet and calling on the resources of the theatre to do so. Lighting, stage mechanism, dance conventions, musical forms and costumes and scenery of all periods are used to symbolize the world of 'Adam Zero'.Apart from Adam, as the Principal Dancer, other main roles included the Stage Director (representing Omnipotence), and Adam's Fates (Designer, Wardrobe Mistress, and Dresser). 'The Woman in this allegory', wrote Bliss, 'under the symbol of the Choreographer, was both the creator and destroyer of Adam: his first love, his wife, his mistress, and finally the figure of beneficent Death.' When the curtain rose, the 'audience saw the Covent Garden stage right back to the wall, completely empty except for the protagonists, 'the Company poised, still and expectant, as they await the birth of... Adam Zero.'Unfortunately, soon after the premire, Helpmann injured himself and had to withdraw from the remaining performances. Despite generally positive reviews, the ballet did not capture the imagination of audiences and, to Bliss's considerable disappointment, was not revived. Seventy years would elapse before its first major return to the stage, in 2016, performed by the ballet company of Stadttheater Bremerhaven with choreography by Sergei Vanaev.Bliss extracted a concert suite from the ballet, conducting its first performance with the City of Birmingham Symphony Orchestra on 28 October 1948. For his own suite, arranged for brass band in 2023, Dr Robert Childs chose three dances linked to the seasons, book-ending them with the ebullient 'Fanfare Overture' and 'Fanfare Coda'. After Adam has grown to manhood, his Fates clothe him in a costume synonymous with confident youth, appropriate for the virile, ardent 'Dance of Spring'. In the 'Approach of Autumn', Adam, now wearing a sombre costume, has grown older: his Fates have streaked grey in his hair and put lines on his face. But they had earlier raised Adam to the zenith of his power, and the 'Dance of Summer' depicts him in the prime of life, in music of sweeping grandeur. The 'Fanfare Coda' signals that the next cycle of life is about to begin.Duration: 10.30
Estimated dispatch 7-14 working days
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£64.95
Adam Zero, Suite from (Brass Band - Score and Parts) - Bliss, Arthur - Childs, Robert
Selected as the Section 2 test piece for the National Brass Band Championships of Great Britain 2025Following his ballet Checkmate, Bliss composed another score for the, by then, Sadler's Wells Ballet, Miracle in the Gorbals, which was choreographed by Robert Helpmann, to a scenario by Michael Benthall. Premired in 1944, the ballet made a considerable impact and was a box-office success. It was followed in turn by a further collaboration with Helpmann and Benthall, Adam Zero. This would serve Helpmann, in the eponymous role, as a vehicle in two respects: demonstrating his gifts as a dancer-actor and as a choreographer. First performed at the Royal Opera House, Covent Garden, on 8 April 1946, Adam Zero was conducted by Constant Lambert, the work's dedicatee. Bliss considered it 'his most varied and exciting ballet score'. Benthall provided a synopsis for the programme:There is a philosophy that life moves in an endless series of timeless cycles. As Nature passes through Spring, Summer, Autumn and Winter, so man is born, makes a success in his own particular sphere, loses his position to a younger generation, sees his world crumble before his eyes and only finds peace in death. This age-old story is told in terms of a Company creating a ballet and calling on the resources of the theatre to do so. Lighting, stage mechanism, dance conventions, musical forms and costumes and scenery of all periods are used to symbolize the world of 'Adam Zero'.Apart from Adam, as the Principal Dancer, other main roles included the Stage Director (representing Omnipotence), and Adam's Fates (Designer, Wardrobe Mistress, and Dresser). 'The Woman in this allegory', wrote Bliss, 'under the symbol of the Choreographer, was both the creator and destroyer of Adam: his first love, his wife, his mistress, and finally the figure of beneficent Death.' When the curtain rose, the 'audience saw the Covent Garden stage right back to the wall, completely empty except for the protagonists, 'the Company poised, still and expectant, as they await the birth of... Adam Zero.'Unfortunately, soon after the premire, Helpmann injured himself and had to withdraw from the remaining performances. Despite generally positive reviews, the ballet did not capture the imagination of audiences and, to Bliss's considerable disappointment, was not revived. Seventy years would elapse before its first major return to the stage, in 2016, performed by the ballet company of Stadttheater Bremerhaven with choreography by Sergei Vanaev.Bliss extracted a concert suite from the ballet, conducting its first performance with the City of Birmingham Symphony Orchestra on 28 October 1948. For his own suite, arranged for brass band in 2023, Dr Robert Childs chose three dances linked to the seasons, book-ending them with the ebullient 'Fanfare Overture' and 'Fanfare Coda'. After Adam has grown to manhood, his Fates clothe him in a costume synonymous with confident youth, appropriate for the virile, ardent 'Dance of Spring'. In the 'Approach of Autumn', Adam, now wearing a sombre costume, has grown older: his Fates have streaked grey in his hair and put lines on his face. But they had earlier raised Adam to the zenith of his power, and the 'Dance of Summer' depicts him in the prime of life, in music of sweeping grandeur. The 'Fanfare Coda' signals that the next cycle of life is about to begin.Duration: 10.30
Estimated dispatch 7-14 working days
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