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  • £37.47

    A Friend I Have (Brass Band) Fendall Hill

    The composer writes: 'This work is a personal interpretation of the well known hymn What a Friend We Have in Jesus. This piece is autobiographical in that it reflects the friendship I have with Jesus, and some of the moods, nature and outcomes of many of those conversations. For example, the Blues section is representative of times where I present my 'blues' to him, and he turns them around. It's very personal and hard to describe the full nature of my relationship, but this music provides a good window. He is certainly my Lord, my Saviour, and my most precious friend.' PDF download includes score and full set of parts. Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com To view a performance video of the work please visit: https://www.youtube.com/watch?v=cN-zYhdwaxM Difficulty Level: 1st Section + Instrumentation: Soprano Cornet Eb Solo Cornet Bb 1st Cornet Bb 2nd 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 1-2 Bb Bass Eb Bass Bb Drum Kit Temple Blocks Timbales

    In stock: Estimated delivery 1-3 days
  • £79.95

    Malcolm Arnold Variations (Score and Parts) - Ellerby, Martin

    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 delivery 10-14 working days
  • £39.95

    Malcolm Arnold Variations (Score Only) - Ellerby, Martin

    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 delivery 10-14 working days
  • £34.95

    On the Castle Green - Lovatt-Cooper, Paul

    I was contacted by conductor and friend Desmond Graham who wanted to have a traditional concert march composed to celebrate the Golden Jubilee of his band; The Third Carrickfergus Band.Immediately my mind started wandering as I thought about all the great marches that I have enjoyed playing and listening to over the years. So when I put pen to paper I had already planned out the structure of the march and which instruments to feature.The march itself is split into two halves, the first in a minor key the second in a major key. The opening section starting loudly in F minor features stereotypical passages one would come to recognise in a traditional concert march: a cornet solo, a melodic bridging section and a robust bass solo led by the basses and trombones.The second half of the march changes pace and mood as it lifts into a major key giving it a more lighter feel. We hear a second cornet solo which plays the second theme of the march. After a second bridge section the theme is played by the front row cornets to allow the soprano to play an obligato melody similar to that heard in marches like “Army of the Nile” and “Stars and Stripes Forever”. It all builds to a grandioso ending where the tempo drops and the final theme is played with a quick accel to the end.As for the title? In Carrickfergus lies an old castle that faces the town which is situated on a small plot of luscious green grass – “On The Castle Green”.Paul Lovatt-Cooper

    Estimated delivery 10-14 working days
  • £35.00

    Song of Hope - Peter Meechan

    Song of Hope is dedicated to my good friend Ryan Anthony (principal trumpet with the Dallas Symphony Orchestra) and his charity, Cancer Blows - a foundation set up to raise awareness and money to further the research that has helped give their family a hope for a future following Ryana??s diagnosis of Multiple MyelomaUpon hearing the middle movement (simply titled a??Songa?) of my cornet concerto, Milestone, Ryan asked me if I could change the end from its current reflective ending to something more uplifting, and to title it Song of Hope, giving it much more meaning than I could have ever imagined.As well as a wind band scoring without soloist, Song of Hope exists with 1, 2 or 3 soloists, accompanied by either wind band, brass band, brass ensemble or symphony orchestra.For my friend Ryan.Each set comes with the soloist part for 1 soloist. Please download the alternative 2 or 3 soloist parts from the link above.

    Estimated delivery 12-14 days

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  • £34.95

    Three Burns Portraits - Rodney Newton

    Robert Burns (1759-1796) was one of the most colourful literary figures of the 18th Century. The son of a tenant farmer, he was born in Ayrshire, Scotland, and earned a living variously as a farmer, flax dresser and exercise man, gradually establishing himself as a poet, lyricist and collector of folksongs. A charismatic character, by the time of his death he had become Scotland's best known and best-loved poet. This work depicts three characters from his personal life who also figure in his poetry. Although Burns intended much of his verse to be sung, and even wrote tunes himself for many of his lyrics, all the melodies in this work are original.I John AndersonJohn Anderson (1759-1832) was an Ayrshire carpenter and close friend to Robert Burns, who immortalised Anderson in his affectionate poem John Anderson Ma Jo, which imagines both men in old age (although Burns was only 37 when he died). Anderson is reputed to have made Robert Burns' coffin and survived the wrecking of the paddle steamer Cornet at Craignish Point near Oban during a storm in 1820, an event incorporated into this movement. This is a picture of a tough, resilient Scot who meets the storms of Life head-on.II Mary CampbellRobert Burns had numerous love affairs, sometimes with more than one woman at a time. Mary Campbell, a sailor's daughter from the highland district of Dunoon, had entered service with a family in Ayrshire when she met Burns. Although involved with another woman at the time, Burns was smitten with Campbell and there is evidence to suggest that he planned to emigrate to Jamaica with Mary. However, nothing came of this wild scheme and Mary, fearing disgrace and scandal left the area but not before Burns had enshrined her in at least two poems, Highland Mary and To Mary Campbell. Significantly, the first line of the latter runs, "Will ye go to the Indies, my Mary, and leave auld Scotia's Shore?" (His ardent pleading can be heard in the middle section of the movement). Mary's music paints a portrait of a graceful young lady who had the presence of mind not to be entirely won over by the charms of Robert Burns.III Douglas GrahamBurns was a heavy drinker, and this is most likely a contribution to his early death. He was matched in this capacity by his friend, Douglas ‘Tam' Graham, a farmer who sought solace in the bottle from an unhappy marriage. Burns used his drinking partner as a model for the comic poem, Tam O'Shanter, which tells of a drunken Ayrshire farmer who encounters a Witches' Sabbath and escapes with his life, but at the cost of his horse tail. The story was said to be made up by Graham himself to placate his fearsome, but very superstitious, wife after he arrived home one night, worse the wear for drink and with his old mare's tail cropped by some village prankster. This present piece depicts Tam enjoying a riotous night at a local hostilely in the company of his friends, John Anderson and ‘Rabbie' Burns.Rodney Newton - 2013

    Estimated delivery 3-5 days