Results
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£74.95Aspects of Adiemus (Brass Band - Score and Parts)
Aspects of Adiemus is a collection from one of the world's most popular composers, Karl Jenkins. Adiemus, literally translated, means 'we will draw near' and represents a musical language which can be heard on five award winning albums from the composer.Since Adiemus has risen in popularity around the world, it has become a growing entity meaning many different things to many different people. Vocally, the spread of influence grows wider all the time, taking in Arabic and African sounds as well as "Celtic" and ecclesiastical ones. The percussion too has expanded using Indian, Middle Eastern, Japanese, Chinese and even Australian instrumentation.The evolving nature of Adiemus has meant that it has been difficult to categorise. New age, classical crossover, world music, even pop. Karl sees this as a good sign: "To me, Adiemus transcends labels. The fact that it reaches people of different backgrounds, faiths and cultures gives it a universal appeal which is special. The compositions can be spiritual, religious, meditative - it's open to 'move' people in any away they choose to experience."Ironically, the Adiemus project 'got off the ground' initially due to a television commercial for an airline. Karl Jenkins explains, "I'd been toying with a new idea, completely separate to my work in advertising, but at this time, Jenkins Ratledge were commissioned to come up with the music for an airline commercial. We presented the client with a demonstration tape of one of my completed compositions and they loved it."That composition became known as Adiemus. The music for the airline commercial was aired and immediately drew interest from the public. Karl: "It's ironic that a piece of music not originally intended for a TV commercial should end up on a TV commercial, and that this music became the springboard for the success of the Adiemus project."Expertly arranged by Peter Graham, Aspects of Adiemus features the eponymous 'Adiemus', an uplifting and instantly recognisable opener. 'Chorale - Za Ma Ba' and 'Chorale - Vocalise' are songs of sanctuary, the latter featuring a chamber group from within the band. The vibrant 'Song of the Spirit' is a cornet feature, and the finale, 'Song of the Plains' combines intense rhythmic energy with tribal harmonies. Duration is variable depending on movement selection and optional cuts.Duration: 20.00
Estimated dispatch 7-14 working days
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£164.99Music of the Spheres (Brass Band - Score and Parts)
Music of the Spheres was commissioned by the Yorkshire Building Society Band and first performed by them at the European Brass Band Championships in Glasgow, May 2004. The piece reflects the composers fascination with the origins of the universe and deep space in general. The title comes from a theory, formulated by Pythagoras, that the cosmos was ruled by the same laws he had discovered that govern the ratios of note frequencies of the musical scale. ('Harmonia' in Ancient Greek, which means scale or tuning rather than harmony - Greek music was monophonic). He also believed that these ratios corresponded to the distances of the six known planets from the sun and thatthe planets each produced a musical note which combined to weave a continuous heavenly melody (which, unfortunately, we humans cannot hear). In this work, these six notes form the basis of the sections Music of the Spheres and Harmonia. The pieces opens with a horn solo called t = 0, a name given by some scientists to the moment of the Big Bang when time and space were created, and this is followed by a depiction of the Big Bang itself, as the entire universe bursts out from a single point. A slower section follows called The Lonely Planet which is a meditation on the incredible and unlikely set of circumstances which led to the creation of the Earth as a planet that can support life, and the constant search for other civilisations elsewhere in the universe. Asteroids and Shooting Stars depicts both the benign and dangerous objects that are flying through space and which constantly threaten our planet, and the piece ends with The Unknown, leaving in question whether our continually expanding exploration of the universe will eventually lead to enlightenment or destruction.Duration: 18:00
Estimated dispatch 7-14 working days
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£34.95Aristotles Air (Brass Band - Score and Parts)
The Ancient Greeks believed that there were four elements that everything was made up of: earth, water, air and fire. This theory was suggested around 450 BC, and was later supported and added to by Aristotle. The idea that these four elements - earth, water, air and fire - made up all matter was the cornerstone of philosophy, science, and medicine for two thousand years.Air was considered a pure element, but in fact the air that's all around us is made up of a variety of gasses. Of course, in music, air has a different meaning; a beautiful song-like melody or tune and Aristotle's Air is just that.The work was commissioned by and written for The Cory Band as part of their winning 2015 Brass in Concert programme The Four Elements of the Universe, being premiered at the contest at The Sage, Gateshead, on 15th November 2015. The work was awarded the Cyril Beere Memorial Trophy for the Best New Composition or Arrangement.
Estimated dispatch 7-14 working days
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£99.95Malcolm Arnold Variations (Score and Parts)
MALCOLM ARNOLD VARIATIONS was commissioned by Philip Biggs and Richard Franklin for the 20th All England Masters International Brass Band Championship held in the Corn Exchange, Cambridge on 25 May 2008. The work is dedicated to Anthony Day, long time carer of Sir Malcolm Arnold in his final years. I first met Malcolm and Anthony in 1990 and remained in constant touch until Malcolm's passing in 2006. Anthony, of course, remains a friend and plays his own role subliminally in this piece. The work is not based on any of Malcolm Arnold's own themes, rather it is a portrait of him (and by association Anthony Day) through my eyes and as a result of my friendship with both parties over some 18 years. If there is any theme as such it is the personalities of the players, the protagonist and his carer placed together by my own efforts coloured and influenced by aspects of Arnold's style and technique without recourse to direct quotation but through allusion and parody. It is of course designed as a brass band test piece but in my eyes is first and foremost a musical challenge. The pyrotechnical elements are there but always secondary to the musical thrust of the work's structure. I have long beforehand submerged myself in Malcolm Arnold's music and ultimately delivered this tribute. Music Directors will be advised to acquaint themselves with the composer's personal music, particularly the film scores, symphonies, concertos and ballets: the solutions towards a successful interpretation of my piece are all in there - and YES, I want, and sanction, this piece to be interpreted, and therein lies the challenge for those of you 'up front'! The challenge for players is that of virtuosity, ensemble and careful attention to where they are individually in relation to their colleagues - a question of balance, taste and insight. With regard to tempi, as is my usual custom, I have indicated all metronome marks with the prefix circa. I would suggest that the fast music is played at these tempos but that the more rubato moments can be allowed some freedom in expression and fluidity of line. With regard to the type of mutes to be employed - this decision I leave to the discretion of players and conductors. Structurally the work is cast as an Introduction, 20 Variations and a Finale. Some variations are self contained, others run into each other as sequences in the same tempo. In other variations, segments are repeated and developed. I could describe the overall concept as a miniature ballet or a condensed film score - there is much drama and character and the repeated elements assist this in driving the action forward. I have deliberately avoided the more extremely dark qualities of Malcolm's own music in this, my celebration of this master-composer, as I have always viewed (and evidenced by my previous Masters scores Tristan Encounters and Chivalry) that the Cambridge contest is a 'sunshine- affair' and firmly believe that Malcolm Arnold would have had it no other way too!
Estimated dispatch 7-14 working days
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£49.95Malcolm Arnold Variations (Score Only)
MALCOLM ARNOLD VARIATIONS was commissioned by Philip Biggs and Richard Franklin for the 20th All England Masters International Brass Band Championship held in the Corn Exchange, Cambridge on 25 May 2008. The work is dedicated to Anthony Day, long time carer of Sir Malcolm Arnold in his final years. I first met Malcolm and Anthony in 1990 and remained in constant touch until Malcolm's passing in 2006. Anthony, of course, remains a friend and plays his own role subliminally in this piece. The work is not based on any of Malcolm Arnold's own themes, rather it is a portrait of him (and by association Anthony Day) through my eyes and as a result of my friendship with both parties over some 18 years. If there is any theme as such it is the personalities of the players, the protagonist and his carer placed together by my own efforts coloured and influenced by aspects of Arnold's style and technique without recourse to direct quotation but through allusion and parody. It is of course designed as a brass band test piece but in my eyes is first and foremost a musical challenge. The pyrotechnical elements are there but always secondary to the musical thrust of the work's structure. I have long beforehand submerged myself in Malcolm Arnold's music and ultimately delivered this tribute. Music Directors will be advised to acquaint themselves with the composer's personal music, particularly the film scores, symphonies, concertos and ballets: the solutions towards a successful interpretation of my piece are all in there - and YES, I want, and sanction, this piece to be interpreted, and therein lies the challenge for those of you 'up front'! The challenge for players is that of virtuosity, ensemble and careful attention to where they are individually in relation to their colleagues - a question of balance, taste and insight. With regard to tempi, as is my usual custom, I have indicated all metronome marks with the prefix circa. I would suggest that the fast music is played at these tempos but that the more rubato moments can be allowed some freedom in expression and fluidity of line. With regard to the type of mutes to be employed - this decision I leave to the discretion of players and conductors. Structurally the work is cast as an Introduction, 20 Variations and a Finale. Some variations are self contained, others run into each other as sequences in the same tempo. In other variations, segments are repeated and developed. I could describe the overall concept as a miniature ballet or a condensed film score - there is much drama and character and the repeated elements assist this in driving the action forward. I have deliberately avoided the more extremely dark qualities of Malcolm's own music in this, my celebration of this master-composer, as I have always viewed (and evidenced by my previous Masters scores Tristan Encounters and Chivalry) that the Cambridge contest is a 'sunshine- affair' and firmly believe that Malcolm Arnold would have had it no other way too!
Estimated dispatch 7-14 working days
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£55.00Teens At The Junkyard - Brass Band Full Score & Parts - LM995
COMPOSER: Chris AllenProgramme NotesWriting about beautiful rural scenes and seascapes seems to be a very British thing to do. The themes of the English Pastoral School seem especially alive and well in the brass band musical repertoire, featuring in popular works such as John McCabe's Cloudcatcher Fells and Ray Steadman-Allen's Seascapes among many others. McCabe's engrossing depictions of place in Cloudcatcher, Maunsell Forts and Scenes in America Deserta conviced me that music really can transport the listener to a different environment, but rather than describing a landmark or a pastoral scene, I decided to give some attention to an ugly, neglected place.In Square Enix's Life is Strange, an episodic adventure game released in 2015, two teens use the local junkyard as a place of escape from the drama of their lives, unbeknowst to the fact that their friend, recently missing, was murdered and buried in that very place. Inspired by these dark images, I sought to write music that reflected the strewn broken glass, the piles of trash, the stories left behind in the waste of the junkyard. In keeping with this theme of buried history, I unearthed a musical relic from the brass band repertoire, cannibalising themes from Eric Ball's Journey into Freedom. In fragmenting and distorting such a treasured work I hope to make the listener feel a process of wasting away of precious memories.The first movement should be spiky, clinical and bleak, with a similar character to that of Harrison Birtwistle's Grimethorpe Aria, and the second, an intense, reminiscing, lyrical slow section. The final movement is in a similar vein to Elgar Howarth's Songs for B.L., ending with a blazing finish as if standing upon the tallest pile of trash in the junkyard and looking down upon the chaos below.Chris Allen (2021)About the Composer:Chris Allen, 22, studied Music at the University of Birmingham, graduating with a 1st in his Bachelor's degree in 2020 and achieving a Distinction in his Master's in Composition in 2021. Chris won the University of Birmingham Music Society's Composition Competition in 2019 with his piece for brass band, The Sirens, and was published for the first time by Modrana Music after winning the Durham University Brass Band's inaugural composition competition with his suite, Three Images of North-East England. Both pieces have been performed in concert and recorded recently and Chris continues to write new, original works for brass band.Chris started playing the tenor horn at the age of 7 under the tutelage of Don Blakeson, first joining the Melton Band and then moving onto Hathern Band,conducted by David Newman. Upon moving to university in Birmingham,Chris studied performance on the tenor horn with Owen Farr for a year,started playing with the University of Birmingham Brass Band, under thebaton of Stuart Birnie, and began writing and occasionally conducting his ownworks for brass band. However, his work is not confined to this ensemble,and as part of his studies, he has written for the Ligeti Quartet and theBirmingham Contemporary Music Group.
In Stock: Estimated dispatch 3-5 working days
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£45.69Abberline (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 www.cimarronmusic.com (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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£38.08Fallen Souls (Brass Band) Andrew Wainwright
Fallen Souls was the winner of Grimethorpe Colliery Band's 1st Annual Composition Competition in 2023. This depictive and impactful work explores the theme of human fallibility. The piece begins with a slow, yearnful introduction that depicts a fall from grace, represented by a horn solo that reflects the innate goodness of humanity. However, the music soon becomes more agitated and dissonant as it represents the temptations that can lead us astray. The opening reaches a climax of chaos and despair, as we are shown the devastating consequences of our choices. The following section depicts the temptations of humanity. The music is chaotic and seductive in this section, with regular time changes and rhythmic instability, representing the many temptations that surround us. The section ends with a sense of uncertainty, as we are left wondering whether we will succumb to these temptations. There is a reprise of the opening horn solo, and a return to the notion of human fallibility, but this time in extended form. Again there is a build toward chaos, and the music becomes more complex and textured, reflecting the complexity of the human journey. The work ends somewhat abruptly with a blaze, leaving the listener with a sense of both hope and uncertainty. To view a rolling score video featuring Grimethorpe Colliery Band please visit www.youtube.com/watch?v=rM-p8CjnYo0 Duration: 5.00 minutes approx. Difficulty Level: 1st Section + PDF download includes parts and score. Sheet music available from www.brassband.co.uk/sheet-music/fallen-souls-brass-band-andrew-wainwright-brookwright 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 BbTimpani Percussion 1-3
In Stock: Estimated dispatch 1-3 working days
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£34.27Polka from 'The Bartered Bride' (Brass Band) Smetana arr. Rob Bushnell
Considered a major contribution to the develop of Czech music, The Bartered Bride by Bedrich Smetana is a comic opera in three acts that premiered, in its final version, in 1870; having not been a great success when the original two-act version premiered at the Provisional Theatre, Prague on 30 May 1866. The opera was part of Smetana's aim to create a native Czech music after the conductor Johann von Herbeck commented that Czechs were incapable of making music of their own. Whilst he avoided the direct use of folksongs, Smetana did use numerous traditional Bohemian dance forms, such as the furiant and the polka, leading to music that was Czech in spirit. 'Sold Bride', a more accurate translation of the original Czech title (Prodana nevesta), tells the story of two lovers (Marenka and Jenik) who want to marry despite Marenka's father's obligations for his daughter to marry the son of a wealthy landowner, Micha. Scheming, condition proposals and secret identities leads to a happy ending. The polka was not in the original 1866 version. A revision in October 1866 saw the addition of a gypsy dance near the start of act 2. But by the next performance in January 1869, this had been replaced by a polka. In June 1869, a new polka replaced the January version's (as well as being moved to the end of act 1) and this is the one that we know and love today. This arrangement is for British-style brass band, with *alternative parts for horns in F and bass-clef lower brass. 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 (Triangle, Cymbal(s) & Bass Drum)
In Stock: Estimated dispatch 1-3 working days
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£60.93Horizon: The Promise of the Lord (Brass Band) Andrew Wainwright
Horizon: The Promise of the Lord was written at the request of Bandmaster Stephen Cobb for The International Staff Band. It is based on the much loved hymn of the church, Cwm Rhondda (Guide me O thou great Jehovah). The work was recorded on the ISB's CD Manuscripts II (released 2023). This highly descriptive piece will be an excellent addition to concert programs, as well as being appropriate as a test piece. The inspiration for the work comes from the book of Exodus. Whilst the music is not intended to be directly programmatic, like the hymn Cwm Rhondda, the work takes the listener through the Exodus from Egypt to the promised land of Israel as a metaphor of the spiritual pilgrimage of the individual Christian through his or her earthly life. The music aims to evoke a sense of God's guidance through strife and affirm the reality that God provides for us and redeems all the wrong in the world. This God who provided for the Hebrew people wandering amidst 'barren lands' with 'bread of heaven' is still and ever will be a God of provisional grace. Through listening to the music, it is the composer's intention that we are reminded of God's promise of Deliverance as set out in Exodus 6 v7-8: 'I will take you as my own people, and I will be your God. Then you will know that I am the Lord your God, who brought you out from under the yoke of the Egyptians. And I will bring you to the land I swore with uplifted hand to give to Abraham, to Isaac and to Jacob. I will give it to you as a possession. I am the Lord.' Like the hymn, Horizon: The Promise of the Lord is intended as a prayer for guidance. The Christian is a pilgrim through 'this barren land'. The music is often chromatic and in large parts verging on atonality, as a reflection of the strife that the Israelites endured in their 40 years in the wilderness. However, it ends in climactic fashion with the Hebrew people finally reaching their destination after many years of wandering in the desert - as they approach the 'Horizon' promised by the Lord. To view a performance of the work by the National Youth Brass Band of Great Britain please visit www.youtube.com/watch?v=LjOHf7QEw1g PDF download includes score and parts. Sheet music available from: UK - www.brassband.co.uk USA - www.cimarronmusic.com Difficulty Level: 1st Section + Length: c11.00 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 Percussion 1-4
In Stock: Estimated dispatch 1-3 working days
