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£35.00Ariel
DescriptionAll hail, great master! Grave sir, hail! I come To answer thy best pleasure, be 't to fly, To swim, to dive into the fire, to ride On the curled cloud. To thy strong bidding, task Ariel and all his quality. - William Shakespeare: The Tempest, Act 1, Scene 2Ariel was written for the Hammonds Band to open their programme at the 2019 Brass in Concert Championships at The Sage Concert Hall in Gateshead, where it received its premiere. The title is taken from the character in Shakespeare's play 'The Tempest'. Ariel is an immensely powerful "air spirit" or demon bound to serve Prospero, the exiled Duke of Milan, after being released by Prospero from imprisonment in a tree. In the play Ariel's magical abilities are used to help Prospero revenge himself on his enemies and reclaim his dukedom, whereupon Ariel finally regains his freedom.You can hear an audio preview and follow the score below: Performance notes:The cornets and horns are split into two "choirs" to be placed left and right of the band. It may be possible for the choirs to play their opening flourish offstage, and the optional repeated sections in the opening are to accommodate stage movement if required. Trombones form a third "choir" which should ideally stand centrally between basses and percussion, and the euphoniums and baritones should sit in front of the basses. The work requires four percussionists, although if four are not available the 2nd part may be omitted.Percussion 1: Kit - bass drum, snare, 3 x toms, hi-hat, suspended cymbal - and 3 x temple blocksPercussion 2: Tam tam and orchestral bass drum.Percussion 3: Glockenspiel and timpaniPercussion 4: Tubular bellsSoprano, solo cornets and 3rd cornets require cup mutes. Solo trombone requires a cup mute, second trombone requires a metal straight mute.
Estimated dispatch 7-14 working days
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£35.00Edward Gregson: Fanfare for a New Era (for Brass Band)
DescriptionComposer's NoteThe Fanfare has been designed to be partly antiphonal, with four separate brass 'choirs' initially playing their own music, and so some spatial separation is desirable. Soprano and solo cornets should be placed centrally, standing behind the rest of the band - or in some venues could even be placed off-stage in a side balcony, but still close to the band. If the Fanfare is played by a contesting size band, one of the solo cornets should play the 1st cornet part together with the usual player ie the number of players on the 1st, 2nd, and 3rd cornet parts should be equal. Otherwise the number of players in each of the two cornet 'choirs' is at the discretion of the conductor. The Tubular Bells accompanying the cornets 1-3 group should be placed close to that group. See inside back cover for suggested band formation.The style of playing should replicate that of symphonic brass, with a minimum of vibrato and with long notes being sustained without decaying.Programme NoteCommissioned in 2020 by Youth Brass 2000, Fanfare for a New Era was designed to be partly antiphonal - thus the separation of the band into four brass 'choirs', each with their own percussion accompaniment. First, soprano and solo cornets, rather like heraldic trumpeters, announce the main idea, majestic in character. Then horns, baritones, and euphoniums, with timpani, enter with stately figurations. Next, the heraldic trumpeters usher in trombones and tubas, to the accompaniment of tom-toms and snare drum, presenting a faster and rhythmic dance-like theme. Finally, the remaining cornets amplify the pealing of bells. All four elements then come together, surrounding the audience with a 'joyful noise' of festive brass and percussion.The original symphonic brass version of this fanfare can be purchased as part of a set of Three Fanfares HERE.For more information on Edward Gregson's music please visit the composer's website: www.edwardgregson.com
Estimated dispatch 7-14 working days
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£39.95When Thunder Calls (Brass Band - Score and Parts)
When Thunder Calls was commissioned by Dr Nicholas Childs and the Black Dyke Band for their performance at the Gala Concert of the Swiss Open Championships in September 2011. When composing this piece, I decided to focus on both the music and the stage presentation. The way the piece has been composed and designed makes it a very effective way of starting a concert or a second half of a concert.At the start of the piece, the percussion enter the stage and take their positions in their usual place behind the band. They begin playing the piece without a conductor. They keep repeating the opening section while the Basses, Horns, Baritones and Euphoniums march onto the stage.This group of musicians take their seats with the Horns, Baritones and Euphoniums sitting where they usually sit in the band but the Basses sit where the solo cornets usually sit, forming an inner semi-circle of lower brass. When seated and when the music gets to the end of bar 4 the piece continues onto section A. All performers keep repeating this next 4-bar phrase until the trombones march onto stage and stand at the front of the stage with the Bass Trombone standing in between the other two trombones.All performers then play from figure B to C with the trombones taking the lead at the front. When the performers get to rehearsal figure C they repeat this section (the same as section A) while the trombones move from the front of the stage and take their positions where the Basses would normally sit (between the horns and the percussion) and remain standing. Meanwhile, the flugel enters the stage and stands at the front of the stage (standing where the trombones did). When in position the flugel soloist picks up into rehearsal figure D.When the flugel soloist finishes playing, just before rehearsal figure F they then move to their normal seat in the band. At figure F the cornets march onto the stage from either side, they turn and stand side by side each other facing outward towards the audience forming two 'fanfare' lines either side of the lower brass. The conductor follows the cornets on stage and on cue they lift their instruments at the same time and perform when the piece gets to figure G.There is no more moving around from this point on other than the solo cornet to move forward with the solo euphonium and perform their duet at letter H. Also the horns are required to stand and play at letter I and then sit just before J.When performed with all the choreography, this piece makes for an exciting addition to any concert repertoire both for the performer and the audience.Suitable for 3rd Section Bands and Above
Estimated dispatch 7-14 working days
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£35.00
Apex - Peter Meechan
Apex was commissioned by Mark Bousie and David Armitage (President of Sellers International Ltd.) for the Sellers International Youth Band to perform at the Action Research Entertainment Contest in Blackpool, 2007. Originally commissioned as part of a stage act with a magician, who levitated the soloist, Apex takes its title from the literal meaning of the word - the highest point.As well as being a solo for cornet, the piece also strongly features the percussion section, as well as the band singing!The solo part is equally suitable for cornet, flugel horn or trumpet.First performance:Sellers International Youth BandMark Bousie - ConductorJoe Murray - CornetPerformance notes:* The singing parts are written in transposed pitch, and should be sung to an "ah" sound* The percussionists should feel free to add instruments (Such as bongos) and treat section C to the end as a guide, which they can change and build on* From section C until the end, percussion parts 1 and 2 may be played by one percussionist on a drum set
Estimated dispatch 12-14 working days
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£40.00Bass Trombone Concerto - Gareth Wood
Written in 2006 for Roger Argente, Gareth Wood brings his considerable experience of writing for brass, and brass bands in particular, to an instrument not often blessed with opportunities for solo exposure. It is scored for soloist accompanied by traditional brass band line-up, including timpani and two percussion, and follows the standard three-movement pattern. In the first movement, the soloist launches straight into the musical argument with a low-lying repeated quaver figure punctuated by the band. A lyrical second subject in the high register is also entrusted to the soloist, and the movement comes to a thrilling conclusion. The slow movement opens softly with the percussion, and a mournful bass line sets the mood for a thoughtful long melody. It reaches a powerful climax, which subsides to a return of the opening mood. In the march-like finale, the soloist is pitted against a number of solo instruments from the band and a driving ostinato carries the momentum through to the blazing ending.
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£39.99Amid the Cold Of Winter- The Rose ("Es ist ein Ros entsprungen")
ABOUT THIS PIECE: Introduce a touch of elegance to your Christmas programme with Amid the Cold of Winter - The Rose, a beautiful arrangement of the traditional carol Es ist ein Ros entsprungen (Lo, How a Rose E'er Blooming). This cherished melody dates back to the late 16th century and has been celebrated for its gentle beauty and profound sense of reverence. Its origins in German sacred music have made it a favourite across centuries, embodying the spirit of hope and renewal. This arrangement, crafted for quartet with brass band accompaniment, enhances the carol's delicate charm while providing a fresh, rhythmic and gentle take on the accompaniment and overall feel. Perfect for seasonal concerts, or gentle and reflective moments in your programme, this piece allows a quartet of soloists to shine. ENSEMBLE: Quartet (soprano cornet, repiano cornet, solo tenor horn & solo baritone) with Standard British Brass Band. For information: As only two solo cornets are required, it is suggested that remaining cornet player play additional percussion. Soprano part available in Bb to be played by Bb cornet. Solo Horn part available in Bb to be played by trombone (trombone part available in Eb to be played by tenor horn in this scenario). WHEN YOU BUY THIS PRODUCT, YOU GET: High-quality printed score and parts LEVEL: 1 LISTEN: DURATION: c. 4-minutes EXAMPLE 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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£25.00Christmas Concerto
DescriptionThis arrangement of Corelli's famous "Christmas Concerto" features soprano cornet, two solo cornets and solo euphonium. Arcangelo Corelli was one of the first masters of the baroque period, a skilled violinist much admired by fellow composers like Bach and Handel. He was born in Fusignano, near Ferrara in Northern Italy in 1653. He studied in nearby Bologna where he became an extremely competent violinist. By the 1670s he was working in Rome and building a reputation as a composer at the important and powerful Papal court. By the late 1600s he was widely famous all over Europe, regularly invited to important courts and palaces. Although he had a huge influence on the virtuoso writing of later composers, his writing for string instruments was designed to be playable by average, often amateur players.His set of Concerti Grossi known as Opus 6 was not published in his lifetime. We think they were written around 1690, and they were first published in Amsterdam in 1714, a year after Corelli's death. A 'Concerto Grosso' is a concerto for a group of soloists (the "concertino" group) accompanied by an ensemble (the "ripieno" group) and was an important form in the Baroque era. Handel's very successful examples were modelled on Corelli's example. Number 8 from the Opus 6 set was commissioned by the Venetian Cardinal Pietro Ottoboni and bears the inscriptionFatto per la notte di Natale('made for the night of Christmas'). It was used as part of the soundtrack for the 2003 film 'Master and Commander: The Far Side of the World".Performance Notes.In this arrangement the 'Concertino' group are the soprano cornet, solo cornets 1 & 2 and the solo euphonium. If logistics allow they should stand either at the front of or some distance away from the band. There is no percussion in this arrangement. All tutti cornets will require cup mutes.Duration approximately 3'15".You can listen to a preview while following the score below:
Estimated dispatch 7-14 working days
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£50.00Dragon Dances
DescriptionDragon Dances was commissioned by Owen Farr, who is also the work's dedicatee, gave the first performance with the Cornwall Youth Band conducted by Richard Evans on 5 April 2010 and has recorded it on his solo CD "A New Dawn" accompanied by the Cory Band conducted by Philip Harper.Being a Welsh composer, writing music for a Welsh soloist, I was naturally keen to reflect this in the music, and I drew inspiration from two particularly Welsh concepts - "hiraeth" and "hwyl". "Hiraeth" is a word that has no direct translation into English, but an approximation would be 'yearning for home'. Like the other celtic nations, Wales has a widespread diaspora of people who left to seek new lives out in the empire and "hiraeth" is a way of summing up the homesickness felt by these exiles, some of whom return each year for a special ceremony at the Royal National Eisteddfod. "Hwyl" is an even more complicated word, variously meaning ecstatic joy, fervour, equable temperament and even the characteristic sing-song oration style of the great Welsh Methodist preachers.I have attempted to make the music reflect both of these, with the melancholy first part of the work inspired by the hymns and solo songs for which Wales is famous, and the second part having a much more dance-like, joyful quality.Performance Notes:2 solo cornets, 2nd and 3rd cornets require cup mutes. 2 solo cornets require harmon mutes with tubes removed (marked 'TR' in the score).1st horn and 1st baritone require straight mutes, preferably fibre. 1st trombone requires a straight mute, 2nd and bass require cup mutes.Percussion instruments required are vibraphone, glockenspiel, timpani, snare drum, suspended cymbal and tam tamWatch/Listen to the score below:
Estimated dispatch 7-14 working days
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£15.00My Love is Like a Red, Red Rose - Helen Douthwaite
Robert Burns' beautiful melody is brought to life as a euphonium solo with brass band accompaniment in this simple, yet highly effective, arrangement by Helen Douthwaite.Originally arranged by Helen for the Kirkintilloch Youth Band, the piece not only features the soloist with a carefully crafted, accessible solo line, but also enables the rest of the band to shine through the tutti elements.Set includes score and parts for:Solo CornetRepiano Cornet2nd Cornet3rd CornetFlugelhornSolo Eb Tenor Horn1st Eb Tenor Horn2nd Eb Tenor Horn1st Baritone2nd Baritone1st Trombone2nd TromboneBass TromboneEuphoniumEb BassBb Bass (optional)GlockenspielPercussionAdditional world parts also provided include F Horn 1/2/3, Baritone 1/2 in bass clef, Trombone 1/2 in bass clef, Euphonium in bass clef, Tuba.
In Stock: Estimated dispatch 3-5 working days
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£73.00
Stealing Apples - Fats Waller - Reid Gilje
"Stealing Apples" is an old swing-tune written by Fats Waller. Performances by Benny Goodman and his big band made the song very popular.In this arrangement for brass band, the mallet percussion is very essential. Mallet Percussion presents the melody from letter A and is also featured as soli-instruments from letter L to P. These parts can alternatively be played as vibraphone solo.Please be aware of the balance at letter A. Horn and Trombones must play piano but well articulated. Letter D must sound sparkling and fresh with articulated and powerful trombones and cornets (using straight-mute).Make shue that the 8th-notes are not played too dotted two bars before letter G. Almost even 8th-notes accentuated on the start of the slur is a good tip.Watch the balance at letter H. This part have to sound homogeniously.The soloistic Soprano Cornet at letter Q must be played in the style of Benny Goodan. The accompaniment must not be too powerful from letter R to S. Best of luck with the performance!
Estimated dispatch 7-14 working days
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