Results
-
£30.00On Ilkley Moor Pastiche
I was commissioned to write a piece for the RNCM Trombone Quartet by the bass trombonist Trevor Slade, a true Yorkshireman. I have created a full brass band version. There is an element of comedy, (though not irreverent). The introduction is a direct reference to a well known film theme about bouncing bombs! We then hear the famous Yorkshire melody with overtones of the old BBC Grandstand theme, (for those old enough to remember). A 'patriotic' section is a mixture of "Ilkley Moor", and those bouncing bombs again! We are then taken to a 'Dixieland' treatment, with 'overtones' of a 'Hootenannyish' piece, which every bandsman/woman is familiar with! What follows is a rather pretty 'Edmundo Ross(ish)' beguine. After a brief Beethovian bit, we are taken back once again to the original pastiche, with a BIG ending. A good piece for the lighter element of the concert programme.
In Stock: Estimated dispatch 3-5 working days
-
£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
-
£29.50MARCH: The Volunteer - Andy Wareham
This year, the British Bandsman ran a March Composition Competion with the winning enteries judged by Paul Hindmarsh, Michael Fowles, and Aidan Smith. the March, 'The Volunteer' is a pastiche contest March and was the winning entry in the 'Category 1' tier, composed in dedication to all of the volunteers who work tirelessly to make the Whit Friday march contests possible. The march was written with upper section bands in mind and aims be a complete showcase for a band's contest performance. In doing so, the music follows the form and style of contest marches popularised by great march composers George Allan, Thomas "T. J." Powell and William Rimmer. Composed in dedication to all of the volunteers who make the Whit Friday March Contests possible NOTE: This edition is delivered as a DIGITAL PDF copy. To order a HARD COPY of this work, please order here
In Stock: Estimated dispatch 1-3 working days
-
£22.50Edward Gregson: Concertante for Piano and Brass Band
DescriptionProgramme NoteThe Concertante for Piano and Brass Band was written in 1966, when the composer was an undergraduate student at the Royal Academy of Music in London. It received its first public concert performance in 1967 at the Royal Festival Hall, London, when the composer was the soloist with the International Band of the Salvation Army, conducted by Bernard Adams. It was one of the first major works to be written for this particular combination.The Concertante is unashamedly romantic in idiom and is in three movements: Prelude, Nocturne and Rondo. The Prelude is cast in sonata form and opens with a short cadenza-like flourish from the soloist, followed by two main ideas - the first sweepingly dramatic, the second highly lyrical. The interplay between these two themes forms the main focus of the movement, and after a return to the opening theme, an exuberant codetta brings the music to a close, albeit a quiet one. https://morthanveld.com/wp-content/uploads/2017/09/Gregson-Concertante-1st-movt-clip.mp3The tender Nocturne opens with an introduction from the band that contains precursors of the two main ideas to follow. The solo piano announces the main theme, which has a slightly 'bluesy' character with its flattened third and seventh notes of the scale, and is a love song dedicated to the composer's wife-to-be. The band enters with phrases of a chorale already hinted at in the introduction - Ray Steadman-Allen's hymn tune 'Esher' - but never quite presented in its complete state. Both ideas are developed alongside each other, with eventually the first theme returning, this time with piano and band together, and building to a majestic climax, before subsiding to a peaceful coda - a return to the very opening of the movement. https://morthanveld.com/wp-content/uploads/2017/09/Gregson-Concertante-movt-2-clip.mp3The final Rondo is full of energetic rhythms and changing time patterns. The main theme is playful in character, with much interplay between soloist and band, whilst the middle section presents a new theme, and one that has more than a hint of the hymn tune 'Onward Christian Soldiers', in what amounts to a good humoured parody. The opening Rondo theme returns, this time leading to a powerful and dissonant climax from the band. This is followed by an extended piano cadenza, underlying the virtuoso aspect of the work, and leading to an energetic and life-affirming coda, which brings the work to a triumphant conclusion. https://morthanveld.com/wp-content/uploads/2017/09/Gregson-Concertante-movt-3-clip.mp3Duration: 18 minutesInstrumentation:Please note that there is no 1st/Repiano Cornet part in this work. The 1st/Repiano Cornet player should join the Solo Cornet bench. As such an extra Solo Cornet part is provided in the set of parts.Version for two pianosA version of the Concertante for two pianos is available for rehearsal purposes. Piano 1 is the solo part and Piano 2 the band reduction. However, for those pianists not needing to rehearse the work in this way, a solo piano part is also provided with the main set of band parts.To view a preview of the solo part for the first movement click here.The youthful Gregson (his work was written as a third year undergraduate) was seemingly a bit of a musical magpie - but one heck of a skilful one at that.These were shiny baubles of poise, panache and pastiche, with affectionate, remarkably mature nods of appreciation towards Gershwin, Rachmaninov, Ireland and even Elmer as well as Leonard Bernstein.The rich colour palette and flowing lines (with the tenderest of central Nocturnes) were a joy - as were the little buds of motifs that dotted the score like seeds ready to be planted on a future fertile brass band compositional field. - Iwan Fox, 4Barsrest.com, June 2019For more information on Edward Gregson's music please visit the composer's website: www.edwardgregson.com
Estimated dispatch 7-14 working days
-
£24.95Meditation - Paul McGhee
Meditation was originally written in 2005 for piano as an Erik Satie pastiche exercise whilst the composer was studying at the Royal Welsh College of Music and Drama. It was scored for brass band in 2007 for the wedding ceremony...
Estimated dispatch 5-7 working days
-
£87.99Sunday in the Park - Philip Sparke
Sunday in the Park was written for tenor horn virtuoso Sheona White, and commissioned by her partner, Matt Wade, as a Christmas present.Composer Philip Sparke had known and admired Sheona's playing for many years, having produced her first solo CD and written pieces for her previously.Both composer and performer are huge fans of the late Karen Carpenter, Sheona in part modelling her sound on the singer's sultry voice; so it was decided that this new solo would be a piece which, whilst not being a 'Carpenters' pastiche, paid tribute to their relaxed style and rich harmonic language. Sunday in the Park openswith an accompanied cadenza for the soloist, which leads to a gentle rhythmic melody with a laid-back feel. This is taken up by the band but the soloist sparks a change of mood by introducing a faster light rock interlude. This reaches a climax, at which point the music unwinds until the original mood returns.A variation on the original melody leads to a short cadenza from the soloist, which brings the work to a peaceful close.
Estimated dispatch 5-14 working days
-
£87.99Sunday in the Park (Tenor Horn Solo with Brass Band - Score and Parts) - Sparke, Philip
Sunday in the Park was written for tenor horn virtuoso Sheona White, and commissioned by her partner, Matt Wade, as a Christmas present. Composer Philip Sparke had known and admired Sheona's playing for many years, having produced her first solo CD and written pieces for her previously. Both composer and performer are huge fans of the late Karen Carpenter, Sheona in part modelling her sound on the singer's sultry voice; so it was decided that this new solo would be a piece which, whilst not being a 'Carpenters' pastiche, paid tribute to their relaxed style and rich harmonic language. Sunday in the Park opens with an accompanied cadenza for the soloist, which leads to a gentle rhythmic melody with a laid-back feel. This is taken up by the band but the soloist sparks a change of mood by introducing a faster light rock interlude. This reaches a climax, at which point the music unwinds until the original mood returns. A variation on the original melody leads to a short cadenza from the soloist, which brings the work to a peaceful close.Duration: 7:00
Estimated dispatch 7-14 working days
-
£33.00O.B.1 Fanfare (Brass Band - Score and Parts) - Watson, Tom
A salute to Hollywood and the big screen, this fine pastiche of film scoring is an exciting fanfare and concert opener, composed by Tom Watson, one of the directors of Prozone Music. The RPO Brass have performed this at the Barbican Hall. Duration: 2.30. Suitable for 2nd Section Bands and above.
Estimated dispatch 7-14 working days
-
£42.95In Memoriam R.K (Brass Band Set - Score and Parts) - Howarth, Elgar
All England National Brass Band Championship 2007. Recored on Polyphonic QPRL226D Master Brass Volume 18, QPRL056D National Brass Band Championship 1992 played by Black Dyke.Composer's NoteRudolph Kempe, the German conductor, was much admired for this interpretations of late romantic music, particularly Mahler and Strauss. No such music exists in the brass band repertoire and this piece, deliberately written in pastiche style, serves both to fill the gap and as my own small tribute to one of the greatest musicians I have known.
Estimated dispatch 7-14 working days
-
£74.95Radio City (Trombone Solo with Brass Band - Score and Parts) - Graham, Peter
As youngsters growing up on the west coast of Scotland, my brother and I fell heir to an old valved radiogram which provided us with our first experiences of radio broadcasts. On the short wave signal, and through the static, we could pick up a whole range of programmes from across the Atlantic. I particularly recall the baseball games, the American accents of the announcers providing a window to a evocative world far removed from our small Ayrshire town. These memories form the basis of Radio City.The work is set in three movements, each introduced by a pastiche radio announcer narrative written by Philip Coutts. The first, City Noir, is a nod towards Raymond Chandler's eponymous private eye Philip Marlow and the dark cityscape of 1940s California.Movement two, Cafe Rouge, takes its title from the main restaurant in New York's famous Hotel Pennsylvania. Two of the most famous band leaders of the 1940s, trombonists Glenn Miller and Tommy Dorsey, broadcast live from the cafe on numerous occasions and the movement echoes with a collage of imagined sounds from the period.The finale, Two-Minute Mile, derives from an event dubbed in the USA as "the most exciting two minutes in sport", namely the Kentucky Derby. The virtuoso soloist figurations have their roots in Kentucky bluegrass fiddle music, with the galloping bluegrass clog-dancing rhythms providing the backdrop.- Peter Graham, Cheshire, January 2013
Estimated dispatch 7-14 working days
View Music