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£74.99Cornet Concerto No.1 - Jonathan Bates
My 'Cornet Concerto No.1' was composed for Lode Violet and Brass Band Willebroek in 2018 and features 2 movements, entitled 'Dystopia' and 'Utopia'. . The nature of the music in the opening section, 'Dystopia', is very jagged, disjointed and unsettling, as the soloist almost battles against the constant churning of the mechanical accompaniment, trying to persevere with it's own ideas and styles without being dragged into conforming to it's surroundings. The movement is based largely on the 3 note interval heard right at the outset of the piece (C, D & G#, a series of notes that lends itself so well to different modes, scales, harmonies and intervals) and this forms much of the rhythmic and harmonic structure of the opening section.Whilst this movement acts as a virtuoso feature to demonstrate the extended capabilities of both the soloist and instrument, I feel the accompanying ensemble plays an equal role in the narrative of 'dystopia', and features a number of demanding and prominent episodes for soloists within the accompanying band. A short and heavy coda concludes the movement, with a sense of real pain and sorrowfulness as the music fades away into darkness. . 'Utopia' opens in an instantly more hopeful nature, with the soloist introducing the first real 'theme' of the movement, taken up shortly by the accompaniment. Throughout this movement, there are a number of timbral and melodic references back to the darkness of 'dystopia', but transformed into a much more positive outlook and soundworld. There is a moment of quiet reflect (using the initial 3 note cell as a basis) before flying head first into a frenzied wild 'tarantella' like section, full of joy and energy which tests the dexterity and light-natured approach to virtuosity (much unlike the heavier material in the 1st movement) of the soloist. Primarily, the concept of this finale is fun - joy, happiness, and freedom from restraint, so the addition of a quirky 'tongue-in-cheek' habanera section offers a brief moment of respite from the craziness of the tarantella. To conclude the work, there is an extended cadenza for the soloist which is built on several motifs heard throughout the concerto, which leads the band into a dramatic and energetic final few bars.. Jonathan Bates. (2018). .
In Stock: Estimated dispatch 1-3 working days
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£15.00Harrison's Dream (Brass Band - Study Score)
At 8.00pm on the 22nd of October 1707, the Association, flagship of the Royal Navy, struck rocks off the Scilly Isles with the loss of the entire crew. Throughout the rest of the evening the remaining three ships in the fleet suffered the same fate. Only 26 of the original 1,647 crew members survived. This disaster was a direct result of an inability to calculate longitude, the most pressing scientific problem of the time. It pushed the longitude question to the forefront of the national consciousness and precipitated the Longitude Act. Parliament funded a prize of �20,000 to anyone whose method or device would solve the dilemma. For carpenter and self-taught clockmaker John Harrison, this was the beginning of a 40 year obsession. To calculate longitude it is necessary to know the time aboard ship and at the home port or place of known longitude, at precisely the same moment. Harrison's dream was to build a clock so accurate that this calculation could be made, an audacious feat of engineering. This work reflects on aspects of this epic tale, brilliantly brought to life in Dava Sobel's book Longitude. Much of the music is mechanistic in tone and is constructed along precise mathematical and metrical lines. The heart of the work however is human - the attraction of the �20,000 prize is often cited as Harrison's motivation. However, the realisation that countless lives depended on a solution was one which haunted Harrison. The emotional core of the music reflects on this, and in particular the evening of 22ndOctober 1707. Peter GrahamCheshireJuly 2000
Estimated dispatch 7-14 working days
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£44.83Abberline (Euphonium Solo with Brass Band) Karl Whelan
Inspired by the infamous investigation into Jack the Ripper, Abberline follows Detective Inspector Frederick Abberline through the mist-shrouded streets of Victorian London in his desperate pursuit of a killer who remains forever just out of reach. Scored for brass band and solo euphonium, the piece blends atmospheric textures, shifting musical identities, and virtuosic demands to capture a narrative that is as haunting as it is unresolved. The piece opens in a world of shadows - the foggy alleys of Whitechapel - where tension simmers beneath the surface. The euphonium enters cautiously, as if stalking unseen figures, echoing the danger and uncertainty that cloaked the city in fear. This eerie calm is broken suddenly: the Ripper strikes. The moment is brief but brutal, leaving only silence and horror in its wake. From here, the music shifts into an uneasy, angular waltz: the figure of Abberline takes center stage, portrayed by the soloist as he investigates the aftermath. The waltz is melodically off-kilter and harmonically unstable, capturing both the grotesque nature of the crime and the detective's mental burden. The scene then returns to the streets - but this time, the musical material is more intricate, fragmented, and tense. The threat has deepened, and again the silence is shattered by violence. A second, slightly altered waltz follows, further reflecting Abberline's obsessive descent into the case. In the final section, the chase begins in earnest. Themes from earlier return in quick succession, intensified and overlapping as time runs out. The ancient Dies Irae chant is woven into the texture, evoking fate and judgment. In a final, erratic surge, the euphonium and band race toward an ending that is breathless and unresolved - a reflection of history's unanswered questions and the ghost that always stayed one step ahead. To view a rolling score video of the work please visit https://www.youtube.com/watch?v=i59xYzJRMaI Duration: approx. 7.30 minutes This PDF download includes parts and score. Sheet music available at www.brassband.co.uk (UK) or https://satradecentral.org (USA) Instrumentation: Euphonium Soloist Bb Soprano Cornet Eb Solo Cornet 1-2 & 3-4 Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium (tutti) Bb Bass Eb Bass Bb Timpani Percussion 1-3
In Stock: Estimated dispatch 1-3 working days
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£55.00Triumph Series Brass Band Journal, Numbers 1383 - 1386, March 2026
1383: Festival March - Lead On! (Andrew Wainwright)A dynamic march, commissioned by Majors Paul and Dawn McFarland during their appointment as Area Commanders of The Salvation Army's Dallas-Fort Worth Area, premiered at the 2023 Thanksgiving service at the Dallas Adult Rehabilitation Centre. Featuring the classic hymns Storm the forts of darkness (S.A.S.B. 980) and Lead on, O King eternal (S.A.S.B. 964), the piece captures the drive, hope, and mission at the heart of The Salvation Army's work in North Texas.1384: Confession (Kenneth Downie)This arrangement is based on the tune Lord of all (T.B. 440), one of the welcome additions to the 2015 Salvation Army tune book. Introduced to the arranger by Andrew Blyth, whose appreciation for the melody highlighted its gentle charm, the piece is dedicated to Andrew and the Peterborough Citadel Band, where he served as Bandmaster and continues to play.The music pairs the tune with the reflective words of We have not known thee as we ought (S.A.S.B. 630), a hymn often used in worship as a moment of confession and heart-searching before God. Its inclusion encourages both performers and listeners to approach worship with humility and sincerity.Although labelled simply as "German traditional," the tune's graceful simplicity is immediately evident. This arrangement preserves that character while introducing subtle harmonic colour and developing the tune's rising fourth motif as a unifying musical thread. The gentle nature of the melody remains central throughout, with a slightly heightened energy in the fifth phrase carefully drawn out without disrupting the overall serenity. The sharing of thematic material between Cornets and Horns calls for smooth, unobtrusive ensemble playing, allowing the tune's beauty to speak naturally.1385: God in good (Stephen Hull) This arrangement brings together two much'loved melodies: Goodness of God, a favourite from the final years of the arranger's service as Divisional Music Director in the Wisconsin/Upper Michigan Division, and the simple, enduring chorus God is so good. Heard often at summer camps, the song's message stayed with him, eventually inspiring this thoughtful musical pairing that highlights God's unwavering goodness throughout our lives.1386: A march in time (Martin Cordner)Written to celebrate the 130th anniversary of Thetford Corps (UKI Territory), this lively march pays tribute to a legacy of faithful witness, joyful service, and a community moving forward in God's light. Premiered by Cambridge Citadel Band during the anniversary weekend, the piece weaves together three cherished songs: Marching on in the light of God (S.A.S.B. 968), Jesus, precious Saviour (S.A.S.B. 501), and Light up the sunshine in your heart.
Estimated dispatch 7-14 working days
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£50.00
Vectis Isle - Broadbent, D
VECTIS ISLE is the Roman name for the Isle of WrightSTATELY OSBORNEOsborne House was the summer residence of Queen Victoria. Music of fanfares and pageantry in 3/4 time, with a central delicate minuet section, before returning to the original fanfares and stately themes.PICTURESQUE CALBOURNECalbourne is a pretty, tiny country village with its feature of an old water mill. The music is pastorale in style. 6/8 rhythms with a free and easy waltz section.THE OLD CHURCH AT GODSHILLThis movement links directly from the second, but may be played on its own if desired. Godshill is a quaint but beautiful village of thatched cottages by an old church.SANDOWN HOLIDAYSThis final movement is intended to portray the happy atmosphere of this pleasant seaside resort, with just a moment or two to laze on the fine beaches under an afternoon sun before the final allegro concludes this suite.Duration 14 and a half mins
In Stock: Estimated dispatch 1-3 working days
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£33.62Disinformation! (Brass Band) Joe Galuszka
This atmospheric work by English composer Joe Galuszka is set in three movements: I. Fear II. Hope III. Solidarity (March for Truth) The composer writes: 'All around us is mistrust in the information we receive. Chinese misinformation. Russian disinformation. 'Fake News' in the United States. At every turn we doubt what we hear, what we see. Disinformation was composed in response to the ever-growing and all powerful misinformation campaigns worldwide that reached dizzying levels of influence, coming from some of the most eminent heads of states, during the turn of the 21st century. With division and disillusionment now rife and engrained in Western democracies, the unravelling of the social order is reflected in this short work for brass band. Opening with Fear, Disinformation starts with vast amounts of noise taking over the establishment and paints a world with people coming to terms with the cacophony of sound that is 'false information'. With a retreat to a brief moment of solace, Hope conjures up a calm escapism where on the outside, the brave and the wise look on to what is becoming of our new world. Maybe there is chance to pull together? Ending with a frenzied, brazen climax, the piece concludes with Solidarity - where people and the politicians come to loggerheads in a battle - where those who seek division are called out and the lies are laid bare for all to see, as we enter, once more, the unknown.' To listen to a recording of Solna Brassperforming the work please visit https://open.spotify.com/track/2gvPdCsvmykdWpm2yjz3Uk?si=68cc33805d16449c To view a rolling score video of this work please visit www.youtube.com/watch?v=z-0I47yfvM0 PDF download includes score and parts. Sheet music available from www.brassband.co.uk Difficulty Level: 1st Section + Length: 4.35 minutes Instrumentation: Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass Bb Timpani Percussion 1-4 (Part 2 optional)
In Stock: Estimated dispatch 1-3 working days
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£40.00
Chorale Prelude
This stately work is very loosely based on the opening chords from 'The Lamb', although there are no direct quotations from that work. The opening chorale is played as gradually more themes are added above in a dignified and legato subject where instruments sustain notes to give a lingering echo effect. Players need to be aware of their role in this to maximise the effect. The second subject increases the intensity until the time signature change introduces a second chorale. Then, a short imitative passage leads to a rising appogiatura theme and the climax of the work, which re-introduces the original chorale in a major tonality. With versions for brass ensemble, brass band, wind orchestra and woodwind orchestra, this work has been placed in concerts when a meaningful, reflective moment is required.
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£22.50Petite Suite de Ballet (Score Only)
This composition consists of four 'miniatures', simple in construction, yet not without technical demands upon the players.The music is for a ballet which so far exists only in the imagination! Like most ballet, it has a touch of the fantastic, and must be interpreted with a light, deft touch.The first movement, Parade, brings many characteristics on to the stage, marching perkily, leggily, with almost puppet-like movements.In the next movement, Pas Seul (Solo Dance), one lone figure holds the stage, with a mixture of grace and sauciness. At the end he (or she) runs off with a snap of the fingers.The third movement is a Minuet. A chosen few, richly garbed, perform this stately, courtly dance, while the rest of the company look on at some ritual in which they are not allowed to join.The final Ensemble commencing with the return of the lone figure, gradually brings the whole company to the stage. Various groups come forward for a few moments, and then rejoin the general pattern of the dancing. Towards the end a stately procession is formed, but this finally breaks up in a sudden flurry of leaping and capering, and in a moment, as though at some magic call, the dances have disappeared, whilst the sonorous tones of the final bars of music follow them with a rather disapproving air.Our little fantasy in over.
Estimated dispatch 7-14 working days
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£36.30Down By The Salley Gardens
A new brass band release for 2023 which also welcomes Fiona Neary as a new member of our ever-growing family of writers!This traditional Irish folk tune has been beautifully arranged for brass band, offering a tranquil moment to your programme with a memorable jaunty jig section to keep your listeners on their toes!Every concert needs that 'Aaahhhh' element, and Down By The Salley Gardens certainly brings all the qualities required to meet that need.This original traditional Irish melody has been referred to by a variety of titles: 'Mourne Shore', 'Moorlough Shore' and 'The Maids of Mourne Shore', and is believed to have dated back to the 17th-18th century.In 1889, William Butler Yeats had his poem 'Down By The Salley Gardens' published in The Wanderings of Oisin and Other Poems. The verse was then later set to the Irish melody by Herbert Hughes in 1909. Since this combining, the music has become synonymous with the poem and naturally adopted the poem's title.Due to the beauty of the melody and the emotive words of the associated poem, both elements of this work has been embraced by a variety of artistes, including recordings by The Corrs and Sinead O'Connor; John Ireland (1879-1962) set the words to an original melody in his song cycle Songs Sacred and Profane, written in 1929-31; there is a vocal setting by the poet and composer Ivor Gurney, which was published in 1938; and Benjamin Britten published a setting of the poem in 1943.
In Stock: Estimated dispatch 3-5 working days
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£33.62Paseo (Cornet Solo with Brass Band) Rob Wiffin
A gentle solo for cornet with band accompaniment. Paseo is a Spanish word for a leisurely walk or stroll: the soloist takes the musical line for a walk with no great sense of hurry, and although there is one moment where the pleasantness of the stroll is threatened, it quickly passes and the good mood is resumed. Technically it needs a good sense of cantabile and control over the range from low D to D two octaves higher. To allow the soloist to sing through without fighting the accompaniment, the section cornets and percussion are omitted. Audio demo: https://soundcloud.com/user-565396545/paseo-cornet-solo-with-brass Duration: Approx. 4.10 minutes Difficulty Level: Medium This PDF download includes the full score and parts. Sheet music available at www.brassband.co.uk (UK) or https://satradecentral.org (USA)
In Stock: Estimated dispatch 1-3 working days
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