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£67.00
Taiko & Geisha (Bra) - Traditional - Fredrick Schjelderup
"Taiko & Geisha" was commissioned by the Norwegian brass band, Kleppe Musikklag, as a part of their contest program: "Around the world", for the entertainment contest, Siddis Brass Festival, in 2012. The piece is in some ways a small "postcard" or a hommage to the sound of different asian music. It includes drum features (quasi Taiko-drumming), solos and great big melodic lines as well as the sound of traditional Koto-harp themes.
Estimated dispatch 7-14 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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£21.50Soul Limbo - Brass Band Full Score & Parts - LM717
COMPOSER: Booker T. Jones, Steve Cropper, Al Jackson & Donald 'Duck' DunnARRANGER: David BealOne of the most familiar TV Themes - "Test Match Cricket"Suitable for most sections of band from Youth through to ChampionshipGreat for your Summer concertScored for Traditional English Brass Band
In Stock: Estimated dispatch 3-5 working days
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£48.00That's the Spirit - Peter Goosensen
That's the Spirit! Is a fun and challenging work that is a great flashy opening to concert programs, for youth orchestras and smaller bands. The driving drum and percussion groove provides a solid rhythmic base. The various wind sections of the band deliver both impressive themes but also more subtle melodic lines.
Estimated dispatch 10-14 working days
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£73.00An Olympic Dream - Dean Jones
Using a stately fanfare, this action-packed piece has all the hallmarks of the drama, nerve and excitement that make the title come to life! Enjoy the various themes as they seamlessly glide through to a thrilling conclusion!
Estimated dispatch 10-14 working days
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£192.00The Maestro - Andrew Pearce
The Maestro, a concertino voor trompet en band, was commissioned by Philip Cobb, principal trumpet of the London Symphony Orchestra. I spent most of Summer 2011 in Prague and London composing this demanding piece, for this was a wonderful opportunity to write a large scale work for one of the world's finest Trumpet virtuosos and I accepted the assignment with great enthusiasm. I also felt a great responsibility to deliver a tour de force for this world class player that was both challenging and enjoyable. Phil was seeking melodies and themes in the piece and had enjoyed my album 'Cinema Symphony', and the dramatic vistas it conjured up. Before writing began, I listened to his beautiful album 'Life Abundant' many times, ensuring I had his sound in my head while writing. The piece represents the many aspects of a contemporary trumpeter's musical life from; brass band chorale (a homage to Phil's musical roots), to the symphonic concert hall to the film recording studio. I am delighted to have had Phil and the International Staff Band record this work under the baton of Dr Stephen Cobb. Its a tour de force not only for the soloist but also for the band and should be an exciting challenge for the very best bands out there.
Estimated dispatch 10-14 working days
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£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
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£67.00
Elegi - Haakon Esplo
This beautiful little piece of music will be perfect to play at any concert. Elegy means lamentation and the melodic themes reflect this. You may use the piece to work with sound, dynamics and phrasing in your band.
Estimated dispatch 7-14 working days
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£72.00
Eventyr-Suite - Oystein Sjovaag Heimdal
Fairytale-Suite is an original work for beginning band. The name of the movements are taken from well-known themes from Norwegian fairytales.The music may not tell a story itselv, but it may be a good base for an exciting fairytale on a concert?This piece gives challenging parts to every player and it's a good choice to showcase the entire band.To the conductor:It's several doublings of the voices. This makes it possible to omit certain instruments or parts. The Drum Set part may be split and played by several players.
Estimated dispatch 7-14 working days
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£34.95Marilyn - Lucy Pankhurst
Marilyn was commissioned by Leigh Baker for Carlton Main Frickley Colliery Band's 2014 Brass in Concert programme and takes its inspiration from the twenty Andy Warhol prints of Marilyn Monroe, which fused together two of his most consistent themes: death...
Estimated dispatch 5-7 working days
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