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£59.99Old Hundredth - Louis Bourgeois - Philip Sparke
The tune Old Hundredth is one of the best-known melodies in all Christian musical traditions and first appeared in the 1551 psalter "Pseaumes Octante Trois de David", where it is used as a setting for a version of Psalm 134; it is usually attributed to the French composer Louis Bourgeois (c.1510 - c.1560). The melody was then used in 1561 by the Scots clergyman, William Kethe in Sternhold and Hopkins' Psalter for his paraphrase of Psalm 100 - All People that on Earth do Dwell, which is still the most familiar hymn sung to this noble tune. When Tate and Brady's "New Version of the Psalms" was published in 1696, the melody became know as the 'old' version - henceits current title. This arrangement presents three contrasting verses and is effective as a concert piece as well as an instrumental interlude as part of a church service or wedding.
Estimated dispatch 5-14 working days
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£83.00
The Stars and Strips Forever - John Philip Sousa - Keith M. Wilkinson
The Stars And Stripes Forever is a composition by John Philip Sousa (arr. Keith M. Wilkinson). In the Obrasso webshop are the Sheet Music for Brass Band with the article no. 16535 available. The sheet music is classified in Difficulty level C (medium). More Marching music for Brass Band can be found using the flexible search function. Use the free trial score for The Stars And Stripes Forever and get a musical impression from the audio samples and videos available for the Brass Band piece. With the user-friendly search function in the Obrasso webshop, you can find in just a few steps more sheet music from John Philip Sousa for Brass Band. So that you can complete your concert program, show all music sheets can be displayed with one click on Marching music in Difficulty level C (medium) . The Stars And Stripes Forever is one of many brass music compositions that have been published by Musikverlag Obrasso. Next to John Philip Sousa over 100 composers and arrangers work for the Swiss music publishing house. In addition to the notes for Brass Band you will also find literature in other formats such as Brass Band, Concert Band, Junior Band, Brass Ensemble, Woodwind Ensemble, Symphony Orchestra as well as CDs and Music Education. A large part of the publisher's own literature from top brass bands such as the Black Dyke Band, Cory Band, Brighouse & Rastrick Band or the Oberaargauer Brass Band was recorded on Obrasso Records. All sound carriers are also available digitally on the popular portals of Apple, Amazon, Google, Spotify and other providers worldwide.
Estimated dispatch 5-14 working days
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£59.99Old Hundredth (Brass Band - Score and Parts) - Sparke, Philip
The tune Old Hundredth is one of the best-known melodies in all Christian musical traditions and first appeared in the 1551 psalter "Pseaumes Octante Trois de David", where it is used as a setting for a version of Psalm 134; it is usually attributed to the French composer Louis Bourgeois (c.1510 - c.1560). The melody was then used in 1561 by the Scots clergyman, William Kethe in Sternhold and Hopkins' Psalter for his paraphrase of Psalm 100 All People that on Earth do Dwell, which is still the most familiar hymn sung to this noble tune. When Tate and Brady's "New Version of the Psalms" was published in 1696, the melody became know as the 'old' version - hence its current title. This arrangement presents three contrasting verses and is effective as a concert piece as well as an instrumental interlude as part of a church service or wedding.Duration: 2:30
Estimated dispatch 7-14 working days
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£50.00Triumph Series Band Journal March 2015 Numbers 1259 - 1262
No. 1259 March - Divine Care (Eiliv Herikstad)The message of this march is 'God will take care of you!' The introduction reflects the beginning of the song, God will take care of you (T.B.C.S. 124), which is presented in full at sections C and D.No. 1260 (1) Cornet Solo - Become aware of him (Michael Davis)A setting for Cornet and band of Colonel Robert Redhead's song, Become aware of him, which was originally published in The Musical Salvationist.No. 1260 (2) Hymn Tune Arrangement - St Peter (David Rowsell)An arrangement of the tune, St Peter, associated with the song, In Christ there is no east or west.No. 1261 Song Arrangement - The deep love of Jesus (Andrew Blyth)The strong hymn tune of Ebenezer (T.B. 433) was composed by Welshman, Thomas John Williams (1869-1944), who served as organist and choir director at various churches in and around Llanelli. This arrangement is more relaxed in style than the original and attempts to convey the freedom of the verses mostly associated witht he tune by Samuel T. Francis (1835-1925) O deep, deep love of Jesus, vast, unmeasured, boundless, free.No. 1262 Everybody praise his holy name (Nicholas King)A bright arrangement by Nicholas King of Remco Hakkert's song, Praise his holy name.
Estimated dispatch 7-14 working days
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£50.00
Paintings - Broadbent, D
Canvases from East AngliaI. View Near the Coast -- Thomas Gainsborough c.1750-55Calm Seas GlisteningPeaceful Folk RestingStorm Clouds ThreateningII. Travellers -- Sir Alfred J. Munnings 1910Romany horses, 'neath sunny autumn skiestread gently through the peaceful countrysideIII. William Wollaston -- Thomas Gainsborough c.1759Member of Parliament for Ipswich,Colonel of the East Suffolk Militia,and a musician of note who played the one-keyed flute
In Stock: Estimated dispatch 1-3 working days
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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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£120.00
Rhapsody in Black (Bra) - Andi Cook
The primary inspiration for this work comes from the composer's first encounter with the genre of Symphonic Metal - the opening track of the 2004 Nightwish album 'Once', entitled Dark chest of Wonders. The combination of full orchestra, operatically trained female vocals and the raw power of a Scandinavian metal band was a potent mix that instantly had me hooked.That same dark and powerful sound is one that a brass band can generate, and I've tried to capture that in this composition. Heavy Rock/Metal as a genre is arguably fifty years old now, but symphonic metal is a newer concept, and I feel possibly the one that can bridge the gap between two musical styles very dear to me.Composer Gilbert Vinter had explored through music the connotations that different colours held for him, and his movement Purple from 'Spectrum' gave me an idea for the structure of 'Rhapsody in Black'. Andi Cook explored the different connotations of one colour within his own life, black being an easy choice due to the personal dichotomy of the black leather jacket he wore to the rock club on Friday night and the black suit jacket and tie he wore to the concert hall the next day.To avoid repetition the word 'black' is omitted from the five movement titles, each of which is a different episode. '...as Thunder' is a furious argument between two people - the top and bottom of the band - set against the backdrop of a storm, with lightning flashing outside while barbs, insults, sarcasm, tears and even violence is traded inside. Following that '...Satin and Pearls' is an old black-and-white movie with a wistful character to it as if we're looking back a screen icon with fondness long after their career or even their life has ended. '...as the Raven's Wing.' is deliberately gothic and funereal, hinting at Edgar Allen Poe's similarly named poem, with undertones of death and afterlife. The shift into F/C Minor (band pitch) represents the descent - alive - into the grave that Poe had a paranoid fear of his entire life. Family and friends standing around grieving, oblivious as we're lowered into the earth despite frantic attempts to make ourselves heard. '...and Chrome' is an unashamed motorcycle reference with all its born-to-be-wild, open air, high speed and freedom overtones. In a deliberate contrast to what went before it continues several of the same motifs though this time in the major key. Lastly, we reprise the second movement with '...as the Night Sky' which is simply the feeling of walking home under the summer stars, with someone important - who that is, is left to the listener, but a walk under the stars is always that bit special.There's an old saying that very few things are black and white. I hope this work will prove that even black alone isn't quite as simple as it's often made out....'Rhapsody in Black' is dedicated to the composer's friend and mentor John Roberts, who shares his love of both brass and rock.
Estimated dispatch 7-14 working days
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£54.95Sonata - Derek Bourgeois
This work, composed in 1998, was commissioned by the American trombonist Don Lucas as a work for trombone and piano and first performed by him in Birmingham on 19th May 2000. Subsequently, I arranged the music for both solo trombone and brass band and solo trombone and wind band so that it now exists in three formats. The first movement, in B flat major, is brisk and energetic, and is cast in sonata form. The second subject is gentler and more lyrical. The second movement, a scherzo in C major, is the most complex of the four. Basically the structure is a rond. For a long time the music remains in the opening 5/8 time until a new theme introduces more broken rhythms in a more jazzy idiom. After a return of the opening theme the following episode is more tonally ambiguous. Finally, the main theme returns to round off the movement. The third movement, a lyrical adagio, is really one long extended melodic flow. The harmonies are lush and the textures simple and direct. The tonal center is A minor, but the music meanders through so many keys, that this key centre is heavily disguised. The finale is a fiery affair. G minor is really its home key, but throughout the movement the music moves about a lot and the second subject is first heard in A flat minor. The movement's underlying sonata structure is masked not only by its loose tonality but also by its frequently changing time signatures. Like the first movement the second subject is more lyrical in nature and for a while it seems that the music will end peacefully, but a final flurry heralds a triple forte unison on the home note of the first movement - B flat. Derek Bourgeois
Estimated dispatch 5-14 working days
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£104.99High Flyers - Andrew R. Mackereth
From the composer: High Flyers are regarded as people with promise and potential.They are winners. This is music for winners.The title, as well as being a play-on-words, implies the nature of the work. It is a bright, optimistic, and upbeat piece attempting to depict an exhilarating ride on flying carpet. The opening rising chords immediately suggest the gentle elevation of the carpets' ascent towards unknown heights, leading to a hint of a first theme in the horns at Fig. B. The first four notes provide the thematic material for the whole work: C F G A.A perpetual sense of movement is achieved through accented quaver chords punctuating the melodicmaterial of the first main theme. Fig. E sees the music of the opening bars fully realised, with flourishes from the euphonium and baritones representing swirling clouds, shooting stars, or passing birds in flight.The same subject is developed into a lyrical second theme with a new lush harmonic treatment, evocative of gliding over an expanse of sparse countryside.This section ends with a note of serenity but is shattered by the urgent insistence of the percussion rhythms.The third section introduces a new idea with a slightly distorted fanfare in the cornets and trombones. This figure suggests for the first time that there may be trouble ahead. In fact, there is no need to fear and the journey can continue without aggravation. This fanfare returns near the end to signal a final note of triumph.A new rhythmic variant of the cell motif emerges as the third theme now transformed by the addition of a triplet figure. The music steadily gains momentum before moving inexorably towards the climactic return of the music and tonality of the opening bars of the piece.
Estimated dispatch 5-14 working days
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£89.95TUBA CONCERTO (Gregson) (Tuba Solo with Brass Band - Score and Parts) - Gregson, Edward
This work was commissioned by the Besses o' th' Barn Band with funds provided by the Arts Council of Great Britain. It was written for, and is dedicated to, John Fletcher, who gave the first performance in Middleton Civic Hall, near Manchester, on 24 April, 1976, with Besses o' th' Barn Band conducted by the composer. Another interesting feature about the premire was that it was recorded by BBC Television for an Omnibus programme with Andr Previn as presenter. The concerto exists in four versions: with brass band (1976), orchestra (1978), wind band (1984) and piano reduction.The concerto is in three movements, following the usual, quick-slow-quick pattern: Allegro deciso,Lento e mesto, Allegro giocoso. The first movement has a sonata form shell with two contrasting themes, the first one being rhythmic in character, the second lyrical. There is a reference made in passing to the Vaughan Williams Tuba Concerto, but this merges into the other material in the development section.The second movement begins with a chorale, but after the entry of the tuba it leads to a cantabile theme, softly unfolded by the soloist. The opening chorale passage returns, this time briefly on muted brass, and leads to a middle section which is more chromatic in style and soon builds to a powerful climax, where the opening cantabile theme triumphantly returns. The music subsides, returning to the opening chorale and ending peacefully.The finale is light and breezy in style, and is cast in rondo form. After a brief introduction the tuba announces the main rondo theme, which is dance-like and a little jaunty. There are two episodes: the first a broad sweeping tune, the second a slowish waltz and a little jazz-like. After a virtuoso cadenza reference is made to the very opening of the concerto before the work ends with a triumphal flourish.The Tuba Concerto has established itself as one of the main works in the solo tuba repertoire. It has been performed and broadcast in over 40 countries all over the world. There are currently six commercial recordings of the concerto in its various versions.resolution in C major, pointed by a simple but expansive melody towards which the piece has been heading, and ending in a blaze of joyful colour.Duration: 18 mins
Estimated dispatch 7-14 working days
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