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£104.99The Divine Right (Brass Band - Score and Parts) - Harper, Philip
At the time of composing this piece, the Arab Spring was sweeping through the Middle East. It seemed that almost every week a new country's people had risen up against the regimes and dictatorships which had prevailed for generations, leaving many nations at a defining crossroads in their history. There were so many possible ways ahead: so many hopes, yet so many uncertainties.This music is a depiction of these revolutionary times, and several musical themes are in turn presented, discussed, considered, fought over, altered, rejected or accepted.Most nations have had, or probably will have, their own Arab Spring, including the United Kingdom. Events of 17th Century Britain provide the context for this piece, particularly those following the execution of the tyrant King Charles I on 30 January 1649. The regicide was in part due to Charless steadfast belief in the Divine Right of Kings, and led to a tumultuous interregnum, where England stood at its own defining crossroads. The music begins turbulently, before King Charles appears and is led to the gallows outside Banqueting House in central London where he is brutally decapitated. From the assembled crowd rose, according to one observer,a moan as I never heard before and desire I may never hear again.The music descends to emptiness.The musical argument which follows is not strictly programmatic, but a number of musical themes are all thrown into the melting pot, representing ideas such as: religion; military force; reasoned Parliamentary debate; and the chattering, irrepressible voice of the people. Additionally, there are some quotations from the music of royalist composer Thomas Tomkins (1572-1656), who was often in tune with the feeling of the times.This defining episode in England's history was brought to a close with the Restoration of the monarchy in 1660, and as the exiled King Charles II rode back into London the diarist John Evelyn wrote:Never was so joyful a day seen in this nation. I stood in the Strand and beheld it, and blessed God.At the end of the piece the bells ring out, and the musical appearance of the King has transformed from turbulent to triumphant.Duration: 17.00
Estimated dispatch 7-14 working days
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£55.00Triumph Series Brass Band Journal, Numbers 1379 - 1382, November 2025
1379: March - True to the colours (Noel Jones)This march is a reminder of the symbolism of The Salvation Army flag - blue representing God's purity, red for the blood of Christ and yellow for the fire of the Holy Spirit. I love the dear old Army flag, I'll be true and Yellow star and red and blue are three songs featured where writers have been equally inspired and have made declaration of their allegiance to God by service in The Salvation Army.1380: In all its fullness (Alan Williams)This music was written for the East of England Youth Summer School in 2024, where the delegates explored the theme 'Living life in full colour with Jesus' and as such this work is a joyous and fun-filled celebration of all the good things God has provided.1381: Eternal Spring (Nick Simmons-Smith) This simple hymn tune arrangement is based on the tune Martyrdom which is associated with the words 'As pants the heart for cooling streams'. It is a Scottish tune written around 1800 by Hugh Wilson.1382: March Medley - Emblems of service (Stephen Bulla)This march celebrates the occasion of the Coorparoo Corps' reunion (now Carindale Corps, Australia) in 2022. The music itself features a spirited medley: Joy! joy! joy! there is joy in The Salvation Army, What a friend we have in Jesus and Steadily forward march!
Estimated dispatch 7-14 working days
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£55.00Triumph Series Brass Band Journal, Numbers 1347 - 1350, March 2023
1347: Intrada on 'St Magnus' (Ruben Schmidt)This is an energetic intrada based on the tune St. Magnus with the composer keeping the words The head that once was crowned with thorns (S.A.S.B. 22) in mind.1348: March - In every corner sing (Alan Williams)This is a bright march requiring plenty of vigour and imagination. Featuring and taking its title from Let all the world in every corner sing: My God and King! (S.A.S.B. 41), this bright melody is contrasted with the tune Lydia associating the words There is a name I love to hear, I love to sing its worth (S.A.S.B. 94).1349: I need thee (Craig Woodland)An expressive arrangement of the traditional hymn I need thee every hour (S.A.S.B. 707)1350: March - The great commission (Paul Sharman)This march was written for the Norwegian Christian brass band, Egersund Missionary Band, and is derived from the tune Onward, Christian soldiers (T.B. 188) as well as a brief fragment of the Norwegian National Anthem and the melody Die Sach is dein (The work is thine).
Estimated dispatch 7-14 working days
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£10.00The Once and Future King
DescriptionThe Once and Future King is a suite of three movements; each movement was inspired by an Arthurian legend. The first movement, 'Tintagel', concerns the famous Cornish promontory said to be the birthplace of King Arthur. In Arthur's time, Tintagel was part of the court of King Mark of Cornwall and the music imagines a visit by the King of the Britons to his Cornish neighbour and the place of his birth, reflecting the ceremony and drama of such an occasion; the music is strongly antiphonal, contrasting the more strident fanfares of the cornets and trombones with the warmth of the saxhorns and tubas.The second movement, 'Lyonesse', takes its inspiration from the mythical land which once joined Cornwall to the Isles of Scilly. One legend claims that after the disastrous battle of Camlan where Arthur and Mordred were both killed, the remnants of Arthur's army were pursued across Lyonesse to Scilly, whereupon Merlin cast a spell to sink Lyonesse behind them and drown the pursuers. Some say the bells of the 140 churches inundated that day can still be heard ringing. All the material in this movement derives from two short motifs heard in counterpoint at the very beginning, which are intentionally dissonant and bitonal in character.The final movement, 'Badon Hill', takes its title from the legendary site of Arthur's last battle with the Saxons and is a lively toccata based on the medieval secular song L'Homme Armee ('The Armed Man'). The music uses a number of medieval devices including "hocketing" (passing melody from one voice to another). The actual site of Badon Hill is unknown but it has been associated with Badbury Rings in Dorset and a lot of evidence now points towards the town of Bath. Arthur's victory at Badon Hill was the last great victory for Celtic Britain over the Saxon invaders, but in the end only set the conquest back by a few decades. Arthur himself was dead by then, betrayed and defeated by his nephew Mordred, but it is said that Arthur only sleeps and will return in a time of dire need - hence the legend that Arthur's dying words were: Bury me in Britain, for I am the Once and Future King.Performance NotesWhere space and practicality permits the opening movement should be played with cornets and trombones standing behind the band facing the audience; they should retake their seats for the second and third movements.PercussionConcert Bass Drum (ideally NOT Kit/Pedal Bass Drum), Suspended Cymbal, pair of Clash Cymbals, Glockenspiel, Snare Drum, Tambourine, 2 x Timpani (Eb-G, Bb-D), 2 x Tom-toms, Triangle, Tam-Tam* (only if available), Tubular Bells *(only if available).MutesBaritones, all cornets and trombones will require metal straight mutes; all trombones and cornets will require cup mutes.*The Once and Future King was set as the test-piece for the 3rd section of the Swiss National Championships in 2007. The score was then slightly revised in July 2008, the main alteration being the exclusion of the tubular bells part for the Regional Championships of Great Britain in 2009. Some parts which were optional (or cued on other instruments) at the request of the Swiss Brass Band Association were restored to their original octaves and instruments. In 2015 the tubular bells part was restored in the optional Percussion 3 part; all parts in Percussion 3 are optional, although some are cued in the percussion 1 & 2 parts (and the cues should be played if only two players are available).Listen to a preview and follow along with the score below!
Estimated dispatch 7-14 working days
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£154.60Circius - Torstein Aagaard-Nilsen
The work is important for me because it was my first piece to be performed outside Norway. Black Dyke Band/David King performed it and did a recording of it in 1991. In the original score I quote a Swedish bishop (Olaus Mangnus) who lived in the 15th century. He travelled around Scandinavia and drew maps - very important historic material. When he came to the north of Norway (where I come from) he decribed the wind from the north as Ciricus: (something like) Worst of all winds is Circius, that revolves (?= turn upside down) heaven and earth. (Well, not a good translation Im afraid). The fast sections reflects the mighty winds from the north. In the middle section, I borrowed afolksong-like tune (by C. Elling, a Norwegian composer). The text (by Kristoffer Janson) tells about old times when the fishermen used open boats: they had to put their lives in the hands of God.
Estimated dispatch 5-14 working days
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£110.00
Legend - Geert Jan Kroon
Other than the title, there is no real story that connects this piece to eyeballs or werewolves. There is no real legend that precedes this work. The legend will evolve in the listener's mind while listening to this piece. For me, it started with the title. It was dreamed up by my son. He also suggested a musical gesture, which I then used to build all the musical materials in this piece. I have sought to capture a dark atmosphere with a sense of excitement. Although, there are some not so dark moments in the piece which serve as a musical contrast. I would like to invite every listener to imagine a world where there exists a legend of a bleeding eyeball and a blind werewolf. And if you do dream up a great story, please let me know and share it with each other!
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£88.00Bass Trombone Concerto (Bass Trombone Solo with Brass Band - Score and Parts) - Brubeck, Christopher
"As a bass trombonist, I spent many years of my adolescence playing in youth orchestras, engaging in musical daydreams. I would visualize myself jumping up from the back of the orchestra to unleash improvisations much to the conductor's horror. The resultant three-movement, thirteen-minute work has enjoyed a robust life with performances by notable orchestras all around the world. Happily, the concerto works well as a recital piece, with many accomplished college players having won concerto competitions performing it. Jazz elements were inescapable, and realizing my old nightmare/dream, quite a bit of the trombone solo is meant to be improvised. I made a recording of the concerto with the London Symphony Orchestra, which was included on a CD called Bach to Brubeck released on Koch International Classics. Having already become popular as a bass trombone work with orchestra accompaniment, renowned British Bass Trombonist and publisher Roger Argente suggested he release a special Brass Band arrangement of my concerto. Roger knew the piece well because years ago he played the European premiere of the concerto with the Royal Philharmonic Orchestra at the Royal Albert Hall." - Chris Brubeck. Duration: 13.00. Suitable for 1st Section Bands and above.
Estimated dispatch 7-14 working days
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£30.00National Express
I first heard of the song National Express, which was in the British Top Ten in 1998, when my son Jon mentioned it last year. It was written and sung by Neil Hannon, with his group "The Divine Comedy". Jon said that it would sound good played by a brass band. Tim Benson, solo trombone with Stannington Brass Band, also mentioned it on the internet forum, themouthpiece.com I spoke with Tim, and agreed to do a brass band arrangement with a special feature for solo trombone. In this arrangement, the solo trombone adds extra colour to a band arrangement which is a mixture of big band and country style. The trombone part is well within the capabilities of a good player. There is a comic element to this song, and the cornets and flugel contain an eight bar spoken part, which, if included, would enhance it's entertainment value.Tim Benson took the music to rehearsal at Stannington Brass Band and it instantly became a hit with the band who left whistling the melody. The piece not only retains the fun of the original, but it cleverly uses the band, and a bit of additional vocals from the cornet section. "Tim Benson and the Stannington Brass Band would like to thank Tim Paton for the arrangement." (Tim Benson)."National Express" is on Stannington Brass Band's latest CD, "AND ALL THAT BRASS", available from [email protected]."Pontins was brilliant... one of the highlights of my weekend was playing/performing National Express... absolutely belting arrangement Tim... I love it!" Message from Fiona, who performed with themouthpiece.com scratch band at the Pontins Brass Band Championships in Prestatyn.
In Stock: Estimated dispatch 3-5 working days
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£70.00General Series Band Journal August 2016 Numbers 2158 - 2161
No. 2158 Prelude - My God and King! (Paul Sharman)Based on the hymn tune 'Luckington', this music is a paean of praise to the Lord of all creation.No. 2159 A Christmas overture (Kevin Larsson)An exciting collection of well-known Christmas carols, originally written as a concert opener.No. 2160 March - A voice from above (Eiliv Herikstad)This march refers to a number of Christmas carols. It starts with four bars of 'Hark! the herald angels sing' followed by fragments of 'Joy to the world!' before James R. Murray's 'Den himmelske lovsang' is presented in full. 'Come children, come quickly' requires legato playing from the lower band.No. 2161 In God we trust (Ralph Pearce)Although the title derives from the United States of America's much-neglected motto, the music is a journey through to total trust in God and our Lord Jesus Christ. The tunes featured are 'In thee, O Lord, do I put my trust' leading to 'Trust in God'. Increasingly calm music leads to the more recent song 'In Christ alone, I placed my trust'. The music ends with a brief reference to 'In Thee, O Lord, do I put my trust' now in a mood of calm assurance.
Estimated dispatch 7-14 working days
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£59.95Judd: Caelum Corona - Stephen Bulla
Stephen Bulla's 'Caelum Corona' ('Crown of Heaven') portrays, in sound, a Christian's walk in faith, intended metaphorically via a musical narrative reminiscent of the early church pilgrims, their struggles and triumphs. The composer initially evokes the atmosphere of Rome at the time of St. Paul and other martyrs, thus the Latin title. Bulla marks his imaginative tone poem with dark, brooding music in the first two of three parts, in each of which he has embedded an appropriate hymn or song reference as thematic material. The first of these sounds in a minor key following a symphonic exposition made up primarily of fanfare-like motives, the music at times quite harsh and abrasive. The song is Paul's statement of exuberant faith (2 Timothy 1:12) in the midst of prison and persecution: 'For I know whom I have believed, and am persuaded that he is able to keep that which I've committed unto him against that day.' More challenging, aggressive music returns until a further point of reflection on Christ's sacrifice is reached. The music graphically evokes the barren landscape of Golgatha, the horror of the crucifixion, including stark wind sounds, a loss of stability via eerie, dissonant chord clusters, and even the nails being driven into Christ's body. The Baritones and then Flugel Horn softly play 'He died of a broken heart.' Yet the Christian life, despite its perils - both at the time of Paul and now - is a victorious life, and the composer resolves the tensions of the work in a scintillating finale, a brilliant setting of the old song about spiritual warfare and the ultimate triumph of Christ the King: 'Victory for me!' (T.B. 841). The chorus of that tune proclaims: 'No retreating, hell defeating, shoulder to shoulder we stand; God look down, with glory crown our conq'ring band.' That crowning is the same one sought and claimed by St. Paul (2 Timothy 4:8): 'Now there is in store for me a crown of righteousness, which the Lord, the righteous judge, will award me on that day, but also to all who have longed for his appearing.' Believers look forward to participating in the final coronation of their Saviour - King of Kings and Lord of Lords - while humbly desiring their own 'crown of heaven.'
Estimated dispatch 7-14 working days
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