Results
-
£67.00
Elegy to Unknown Musicians (Bra) - Pierre-Antoine Savoyat
'Elegy to Unknown Musicians' (or in French 'Elegie aux Musiciens Inconnus') is a hymn the composer wrote after the death of Maurice Crozier, who was his fellow musicians in the first band he played 'L'Echo de la Vallee du Morgon' near Lyon (France). It's dedicated to him and all amateur musicians.
Estimated dispatch 7-14 working days
-
£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
-
£30.00Bilby Bomp - Beginner Brass Band - TSM002 - P. W. Jones
COMPOSER: P. W. Jones"Bilby Bomp" has been written as an early work for the beginner Band. It is a sectional arrangement with no divisiwithin parts or sections i.e. no 1st. and 2nd.parts.Melody sheets in all pitches have been included to enable you to give the melody to any player to assist with managing missing players.The Bilby, of approximately 55cm plus a 29cm tail, is the largest member of the family of marsupials called Bandicoots.It is found in North West Australia and is now on the endangered species list.It is a nocturnal animal relying on smell and feel to move about looking for food.Its rear legs work the same as a kangaroo therefore it is always moving about in small bomps.
In Stock: Estimated dispatch 3-5 working days
-
£25.00Peppy - Brass Band - LM346
COMPOSER: Chris CobonPeppy - ADJECTIVESomeone or something that is peppy is lively and full of energyThis high-spirited composition introduces a number of lively melodies before combining them all together.Suitable for light concerts and bandstands, there's something for each section in this piece.Even the basses take their turn with the tune before a frantic rush to the finish.Are you feeling Peppy?Suitable Section 4 Upwards
In Stock: Estimated dispatch 3-5 working days
-
£30.00Repton (Sir Hubert Parry arr. by David Grace) - Brass Band Sheet Music Full Score & Parts - LM557
COMPOSER: Sir Hubert ParryARRANGER: David Grace"Dear Lord and Father of Mankind" is ahymnwith words taken from a longer poem, "The Brewing of Soma" by AmericanQuakerpoetJohn Greenleaf Whittier. The adaptation was made byGarrett Horderin his 1884Congregational Hymns.In many countries the hymn is most usually sung to thetune"Repton" byHubert Parry; however, in the United States, the prevalent tune is "Rest" byFrederick Charles Maker.The text set appears below. Some hymnal editors omit the fourth stanza or resequence the stanza so that the fifth stanza as printed here comes last.If sung to Parry's tune, "Repton", the last line of each stanza is repeated.It is often customary, when singing the final stanza as printed here, to gradually sing louder from "Let sense be dumb...", reaching a crescendo on "...the earthquake, wind and fire", before then singing the last line "O still, small voice of calm" much more softly.Dear Lord and Father of mankind,Forgive our foolish ways!Reclothe us in our rightful mind,In purer lives Thy service find,In deeper reverence, praise.In simple trust like theirs who heardBeside the Syrian seaThe gracious calling of the Lord,Let us, like them, without a wordRise up and follow Thee.O Sabbath rest by Galilee!O calm of hills above,Where Jesus knelt to share with TheeThe silence of eternityInterpreted by love!With that deep hush subduing allOur words and works that drownThe tender whisper of Thy call,As noiseless let Thy blessing fallAs fell Thy manna down.Drop Thy still dews of quietness,Till all our strivings cease;Take from our souls the strain and stress,And let our ordered lives confessThe beauty of Thy peace.Breathe through the heats of our desireThy coolness and Thy balm;Let sense be dumb, let flesh retire;Speak through the earthquake, wind, and fire,O still, small voice of calm.
In Stock: Estimated dispatch 3-5 working days
-
£119.00Decennium - Eric Swiggers
'Decennium' was composed in 2003 as a commission by the municipality of Berheze for its tenth anniversary. The composition describes the history of this town in the Province of Brabant, consisting of 6 different villages: Heesch, Heeswijk, Dinther, Nistelrode, Loosbroek and Vorstenbosch. The composition starts with a slow introduction, Adagio Misterioso, suggesting the atmosphere in long-ago days when the area consisted mainly of swamps, meres and low woods. (The word 'Bern' is a synonym of 'Born' meaning source or water, whereas 'Hese' is derived from 'Haisjo' meaning brushwood ). Above the dark sounds we hear far away trumpet signals announcing the Middle Ages. After a piercing crescendo, we hear the full sound of festive trumpets. A medieval dance, as was to be heard in the Heeswijk castle, follows. This dance gets a more and more stirring character and finally turns into a merry popular dance ending with a burst of laughter reproduced by descending scales with the muted trombones and trumpets. A slow transition with a quotation from a Gregorian plainsong (Domine Deus) and church bell ringing, referring to the Abbey of Berne, brings us to a romantic Larghetto. This part describes the quiet rural life in a beautiful natural surrounding. The last dying note contrasts with the threatening ostinato, referring to the rise of the industrialization, which provoked quite some resistance with the local people. Once more we hear the 'Domine Deus' but much more powerful this time. When the resistance calms down, the work concludes with an Alla Marcia. The first notes of the main theme could be heard all through the composition and now we hear the complete main theme again. The new town is born. A festive conclusion refers both to the tenth anniversary and the optimism and confidence as to the future.
Estimated dispatch 10-14 working days
-
£25.00...and the winter moon rises
Description...and the winter moon riseswas inspired by a winter's evening car journey across the Pennines from Manchester to Huddersfield, through the brass band heartland of Saddleworth. There was recent snow on the ground, and the sun had just set. A bright clear moon was rising into a sky coloured with orange from the setting sun, and the moonlight made all the snow and ice sparkle.The work is the fourth movement of a larger 5 movement suite entitled "North!", but can be (and has been) performed in isolation. This work was a finalist in the 2012 Ohio Brass Arts Festival composition competition.Performance NotesThe percussion parts should be playable by three players; the "arco" parts of the vibraphone parts should be played by drawing a cello or double bass bow up the side of the bar. Motors should be left off throughout.Three of the brass players are asked to double on triangles for the first part of the piece; ideally these should be of different sizes giving clearly different sounds. The easiest solution is to tie a triangle to the music stand, rather than try to hold it and then swap instruments later in the piece.Click below to watch a playback preview of the score!
Estimated dispatch 7-14 working days
-
£35.00Edward Gregson: Fanfare for a New Era (for Brass Band)
DescriptionComposer's NoteThe Fanfare has been designed to be partly antiphonal, with four separate brass 'choirs' initially playing their own music, and so some spatial separation is desirable. Soprano and solo cornets should be placed centrally, standing behind the rest of the band - or in some venues could even be placed off-stage in a side balcony, but still close to the band. If the Fanfare is played by a contesting size band, one of the solo cornets should play the 1st cornet part together with the usual player ie the number of players on the 1st, 2nd, and 3rd cornet parts should be equal. Otherwise the number of players in each of the two cornet 'choirs' is at the discretion of the conductor. The Tubular Bells accompanying the cornets 1-3 group should be placed close to that group. See inside back cover for suggested band formation.The style of playing should replicate that of symphonic brass, with a minimum of vibrato and with long notes being sustained without decaying.Programme NoteCommissioned in 2020 by Youth Brass 2000, Fanfare for a New Era was designed to be partly antiphonal - thus the separation of the band into four brass 'choirs', each with their own percussion accompaniment. First, soprano and solo cornets, rather like heraldic trumpeters, announce the main idea, majestic in character. Then horns, baritones, and euphoniums, with timpani, enter with stately figurations. Next, the heraldic trumpeters usher in trombones and tubas, to the accompaniment of tom-toms and snare drum, presenting a faster and rhythmic dance-like theme. Finally, the remaining cornets amplify the pealing of bells. All four elements then come together, surrounding the audience with a 'joyful noise' of festive brass and percussion.The original symphonic brass version of this fanfare can be purchased as part of a set of Three Fanfares HERE.For more information on Edward Gregson's music please visit the composer's website: www.edwardgregson.com
Estimated dispatch 7-14 working days
-
£35.00Ariel
DescriptionAll hail, great master! Grave sir, hail! I come To answer thy best pleasure, be 't to fly, To swim, to dive into the fire, to ride On the curled cloud. To thy strong bidding, task Ariel and all his quality. - William Shakespeare: The Tempest, Act 1, Scene 2Ariel was written for the Hammonds Band to open their programme at the 2019 Brass in Concert Championships at The Sage Concert Hall in Gateshead, where it received its premiere. The title is taken from the character in Shakespeare's play 'The Tempest'. Ariel is an immensely powerful "air spirit" or demon bound to serve Prospero, the exiled Duke of Milan, after being released by Prospero from imprisonment in a tree. In the play Ariel's magical abilities are used to help Prospero revenge himself on his enemies and reclaim his dukedom, whereupon Ariel finally regains his freedom.You can hear an audio preview and follow the score below: Performance notes:The cornets and horns are split into two "choirs" to be placed left and right of the band. It may be possible for the choirs to play their opening flourish offstage, and the optional repeated sections in the opening are to accommodate stage movement if required. Trombones form a third "choir" which should ideally stand centrally between basses and percussion, and the euphoniums and baritones should sit in front of the basses. The work requires four percussionists, although if four are not available the 2nd part may be omitted.Percussion 1: Kit - bass drum, snare, 3 x toms, hi-hat, suspended cymbal - and 3 x temple blocksPercussion 2: Tam tam and orchestral bass drum.Percussion 3: Glockenspiel and timpaniPercussion 4: Tubular bellsSoprano, solo cornets and 3rd cornets require cup mutes. Solo trombone requires a cup mute, second trombone requires a metal straight mute.
Estimated dispatch 7-14 working days
-
£12.00Canzonetta
DescriptionCanzonetta is a tenor horn solo with optional brass band or piano accompaniment.Canzonetta was one of my earliest compositions, written in my early days as an undergraduate. Along with a companion piece called Caprice it was written for an old friend, Louise Hunt (now Louise Skillander), to whom it is dedicated. We had both been in the Northop Youth Band together, and both pieces were the result of a conversation about the lack of 'good tenor horn solos' for lower section and youth players at the time.With more mature consideration the Caprice has been consigned to the dustbin of history, but the simplicity of Canzonetta has allowed it to stand the test of time with a few minor scoring revisions.Performance Notes:Percussion instruments required are 2 x timpani, glockenspiel, suspended cymbal, concert bass drum (NOT a kit/pedal bass drum) and tam-tam. All cornets will require cup mutes.Duration approximately 3'40"You can follow the score while listening to an audio preview below:
Estimated dispatch 7-14 working days
View Music
