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  • £42.50

    A Scottish Hymn - Charles Hutcheson

    A Scottish Hymn is a chorale arrangement of a hymn composed by Charles Hutcheson, a Scottish merchant and amateur composer who lived from 1792 to 1860. This hymn was given the title "Stracathro," a typical Scottish name after a town in the district Angus. The melody is used with various hymn texts in the Scottish church.

    Estimated delivery 5-10 working days
  • £42.50

    A Scottish Hymn (Brass Band - Score and Parts)

    A Scottish Hymn is a chorale arrangement of a hymn composed by Charles Hutcheson, a Scottish merchant and amateur composer who lived from 1792 to 1860. This hymn was given the title "Stracathro," a typical Scottish name after a town in the district Angus. The melody is used with various hymn texts in the Scottish church. 04:00

    Estimated delivery 5-10 days
  • £124.99

    Suite From Hymn of the Highlands - Philip Sparke

    Suite from Hymn of the Highlands draws three expressivemusical pictures of the Scottish highlands. The first movement,Ardross Castle, contains solo passages for horn andbaritone and features a fascinating bagpipe melody. Thesecond movement, Alladale, is a trio for tenor horn, flugelhorn and baritone with an accompaniment featuring thepercussion section. The final movement, Dundonnell,features two highly contrasting melodies, a wild prestoand the bagpipe melody first heard in the first movement.

    Estimated delivery 5-10 working days

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  • £119.00

    Hymn of the Highlands, Suite From (Brass Band - Score and Parts) - Sparke, PhilipCode:

    Suite from Hymn of the Highlands draws three expressive musical pictures of the Scottish highlands.The first movement, Ardross Castle, contains solo passages for horn and baritone and features a fascinating bagpipe melody.The second movement, Alladale, is a trio for tenor horn, flugel horn and baritone with an accompaniment featuring the percussion section.The final movement, Dundonnell,features two highly contrasting melodies, a wild presto and the bagpipe melody first heard in the first movement.Duration: 17:00

    Estimated delivery 7-14 days
  • £45.99

    Crimond - Traditional

    This lovely Scottish hymn, also known as The Lord's My Shepherd, first appeared in 1929 in the Scottish songbook Northern Psalter, where it was incorrectly credited to David Grant, an Aberdeen businessman and amateur musician. It was, in fact, composed by Jessie Irvine the daughter of the parish minister at Crimond. This arrangement will be a musical jewel in your concert repertoire.

    Estimated delivery 5-10 working days

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  • £45.99

    Crimond (Brass Band - Score and Parts - Oldenstijl, Herman

    This lovely Scottish hymn, also known as The Lord's My Shepherd, first appeared in 1929 in the Scottish songbook Northern Psalter, where it was incorrectly credited to David Grant, an Aberdeen businessman and amateur musician. It was, in fact, composed by Jessie Irvine the daughter of the parish minister at Crimond. This arrangement will be a musical jewel in your concert repertoire.Duration: 4:10

    Estimated delivery 5-10 days

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  • £30.00

    Highland Cathedral - Brass Band

    The number one Scottish hymn has been set for brass band by Karl Alexander.

    In stock: Estimated delivery 1-2 days

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  • £29.95

    Abide With Me - William Henry Monk - Karl Jenkins & Peter Graham

    The lyrics to Abide With Me were written as a poem in 1847 by Scottish Anglican Henry Francis Lyte. Lyte wrote the poem and set it to William Henry Monk's hymn tune ‘Eventide' as he lay dying from tuberculosis.The poem has been set with other melodies through-out its existence but it is the original pairing with Monk's tune that remains it's most popular and loved setting.In addition to regular use in memorial services, state occasions and festivals of remembrance, the hymn has made appearances in countless film and television programmes and is still sung regularly at the start of important sports events.Here a setting by renowned Welsh composer Karl Jenkins, transcribed for brass band by Prof. Peter Graham, ensures this popular hymn tune will remain an audience favourite for years to come.

    Estimated delivery 3-5 days
  • £34.95

    The Smoke That Thunders - Andrew Wainwright

    David Livingstone was a Scottish missionary and explorer. From 1841 until his death in 1873, Livingstone explored the interior of central and southern Africa. His initial aim was to spread Christianity and bring commerce and ‘civilisation' to these regions, but his later missions were more concerned with exploration. This piece of music tells the story of the part of his journey that led to him discovering Victoria Falls.The work starts out in optimistic fashion, with the Scottish folk-song A Man's a Man for a', by Robert Burns, which Livingstone reportedly used to hum on his travels. The troubles and difficulties of his journey were great and the next section describes his battles with the local African tribes, who were suspicious of his motives.After surviving these assaults, numerous bouts of African fever and several skirmishes with wild animals, a more reflective section ensues, which describes the doubts Livingstone had about continuing his mission. This is epitomised by the hymn Lord, Send Me Anywhere, which Livingstone himself wrote.After much deliberation and prayer, Livingstone decided to carry on and the final section describes his journey along the Zambezi River, the triumphant sounds eliciting his elation at discovering the magnificent Victoria Falls, or as it is known by the locals, "Mosi-oa-Tunya", The Smoke That Thunders.

    Estimated delivery 3-5 days
  • £80.00

    St. Magnus - Kenneth Downie

    Dedicated to Alastair Massey, an inspirational music teacher. Commissioned by the Scottish Brass Band Association for the 2004 European Brass Band Championships in Glasgow. This music is a set of variations on the tune known as St Magnus, which is attributed to Jeremiah Clarke. Most people will associate it with Thomas Kelly's hymn which begins: "The Head that once was crowned with thorns is crowned with glory now". The tune is very simple, consisting of just two, four-bar phrases. Neither is there much in the way of rhythmic variety, every note being a crotchet with the exception of two quavers, and the last note in each phrase. Within such a simple structure, however, lies considerable strength. THEME The listener is given the opportunity of hearing it twice, in full, at the beginning, starting with one player but soon taken up by the full ensemble. It returns in the middle of the music and is stated again near the end. This has been done quite deliberately in the hope that there will be an appreciation of what material is being developed, by the listener as well as by those with access to the score, who are able to see the visual connections. VARIATION 1 This takes the rhythm of the last part of the theme and also uses the shape of the opening as a recurring figure. The mood is whimsical and skittish, with short, teasing rhythmic figures tossed around the band, and quick interplay with percussion, at a fast tempo. An energetic flourish finishes this variation before the Andante espress. VARIATION 2 This commences with chords related to the opening of Variation 1. The cantabile on solo comets establishes a new, lyrical mood and there is scope for expressive playing in a series of short solo passages. The theme works its way unobtrusively into the texture before a reprise of the solo cornet melody and some more lyrical interchanges between Eb bass, euphonium, flugel horn and comets. The variation ends serenely with clear references to the last phrase of the theme. VARIATION 3 The first idea to dominate is clearly linked to the shape of the theme's first phrase. There is a frenetic feel to much of this variation, with considerable energy and instability created by extensive use of cross-rhythms. A thinning-out of the score marks a clear change to development of the start of the second phrase of the theme. This proves to be short-lived however, and the opening material returns leading to a restatement of the theme, "Maestoso," after which a euphonium cadenza links to Variation 4. VARIATION 4 Here we have some solos for euphonium, cornet, trombone and Eb bass set against a background of horns and baritones presenting a pensive statement of the theme's opening. VARIATION 5 This commences Allegro, with lively work for cornet and euphonium spreading to the whole band before attention focuses on the beginning of the second phrase of the theme which is initially presented in diminution, then in regular rhythm, then in inversion. An increase in tempo coupled with a decrease in volume, requires dexterity and control, with several metrical challenges thrown in for good measure. The same fragment of phrase becomes an ostinato which generates a frenzied climax, punctuated by short, dramatic silence, before the opening figure returns and the music gradually winds down. The tubular bells herald the final return of the theme, in augmentation, marking the start of the Finale. FINALE This features the running semiquavers of the previous variation sounding in counterpoint. A fast, furious coda speeds the work to a conclusion while references to the opening of the theme are still trying to break into the texture of the music. Kenneth Downie

    Estimated delivery 5-10 working days