Results
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£12.50The Pilgrim's Prayer (Brass Band - Score only) - Rouse, Sydney - Ball, Eric
Introduction - This could hardly be more simple. Inexperienced players may have some little difficulty in intonation, especially as they are starting 'cold', but a useful lesson can be learned in this connection when rehearsing these two bars. Section A - The music is hymn tune-like in character, but it should not become stilted. Close intonation is still a point to study, especially in view of the chromatic nature of some of the harmony. Section B - Aim to secure just balance in the accompanying parts, especially in the second phrase, where the 1st comets may be inclined to treat their moving part as an independent melody rather than part of the 'colour' background. Section C -This is a reprise of the first theme, with a different arrangement. The same comments apply, however. Section D - Here the music becomes more song-like in style, and provides an interesting contrast. The scoring, too, is more varied, and there are a number of points that call for attention. Note that the 1st and 2nd comets and 2nd trombone work as a team throughout; see that the pulsating, syncopated background adds to the movement of the music without giving a jerky effect; the new entries in the fourth and twelfth bars are to be made quite smoothly; and do not allow the texture of the music, especially in the last eight bars of the section, to overshadow the simplicity of the main tune. Section E - Here the first subject appears again. In the arrangement the colour contrasts are quite clear-cut. In order to secure true balance in the fifth and sixth bars, it may be necessary to adjust the amount of tone given by the bass trombone, as this part is not doubled as are the other parts. Section F -This section forms a simple but expressive coda.
Estimated dispatch 7-14 working days
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£40.00King Lear (Brass Band - Score only) - Bantock, Granville - Hindmarsh, Paul
Sir Granville Bantock (1868 - 1946) composed the second of his five major brass band work for Callender's Cableworks Band, completing the commission on 30 November 1932. Based in the Thames-side district of Belvedere near Erith, the band was active between 1898 and 1961. The works band of the Callender Cable & Construction Co. Ltd, it was at the peak of its popularity during the 1930s and was a frequent broadcaster on the radio. The band employed an in-house arranger and played saxophones in its lighter material. King Lear was one of the band's major commissions and was not published in Bantock's lifetime. The manuscript score and parts were thought to be lost for decades, but were found in the library of the Haydock Band (Lancashire), which had inherited part of Callender's library of manuscripts material and bespoke arrangements after it has been transferred to nearby Prescott Cables Band after Callender's Cable Works closed.King Lear is a substantial work, in essence a dramatic tone poem in the romantic Tchaikovskian manner, presenting a series of character portraits of the foolish old king and his three daughters, Goneril, Regan and Cordelia. The music is dramatic and lyrical by turns, with the most generous lyrical episode revealing perhaps the warm-hearted Cordelia. An expansive melody that flows from this is brought back towards the end as the main climax of the work.In 2001, Bantock's score was recorded by the University of Salford Brass Band, conducted by Dr. Roy Newsome. The original is serviceable, but in comparison with the orchestral version he made in 1936 (part of which was recorded on a Paxton 78 rpm) and later brass band scores, performing editions of which were prepared by others, it lacks colour and range typical of Bantock's orchestral work. Above all it lacks percussion, which can be heard on the recorded extract. With the kind permission of the Bantock Estate, I have prepared a performing edition for publication that incorporates percussion, derived from the orchestral recording and added editorially in similar manner elsewhere. I have revoiced some of the low- lying instrumental parts to present the material in more comfortable ranges. Editorial interventions more elaborate than revoicing the original text have been identified as cue notes.- Paul HindmarshDuration: 15.00
Estimated dispatch 7-14 working days
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£17.50
The Mansions of Glory (Brass Band - Score only) - Bates, Jonathan
"A young, talented and tender-hearted actress was passing along the street of a large city. Seeing a pale, sick girl lying upon a couch just within the half-open door of a beautiful dwelling, she entered, with the thought that by her vivacity and pleasant conversation she might cheer the young invalid. The sick girl was a devoted Christian, and her words, her patience, her submission and heaven-lit countenance so demonstrated the spirit of her religion that the actress was led to give some earnest thought to the claims of Christianity, and was thoroughly converted and became a true follower of Christ. She told her father, the leader of a theatre troupe, of her conversion and of her desire to abandon the stage, stating that she could not live a consistent Christian life and follow the life of an actress. Her father was astonished beyond measure and told his daughter that their living would be lost to them and their business ruined if she persisted in her resolution. Loving her father dearly, she was shaken somewhat in her purpose and partially consented to fill the published engagement to be met in a few days. She was the star of the troupe, and a general favourite. Every preparation was made for the play in which she was to appear. The evening came and the father rejoiced that he had won back his daughter and that their living was not to be lost. The hour arrived; a large audience had assembled. The curtain rose and the young actress stepped forward firmly, amid the applause of the multitude. But an unwonted light beamed from her beautiful face. Through Christ she had conquered and, leaving the audience in tears, she retired from the stage, never to appear upon it again. Through her influence her father was converted, and through their united evangelistic labours many were led to God."
Estimated dispatch 7-14 working days
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£37.95Connotations (Brass Band - Score only) - Gregson, Edward
Connotations was commissioned for the 1977 National Brass Band Championship finals, held in the Royal Albert Hall, London (the winner, incidentally, of that particular competition was the famous Black Dyke Mills Band).At the age of 32 Gregson was the youngest composer to have received the honour of such a commission. It came at the end of a productive five years writing for the brass band publisher R Smith. Some of those works - The Plantagenets, Essay and Patterns for example, with their direct and tuneful style, have remained popular with brass bands the world over.For Gregson, these were the means by which he sharpened the tools of his trade, preparing the ground, as it were, for his finest work to date - Connotations. He thought of calling the piece Variations on a Fourth, but with due deference to Gilbert Vinter perhaps (Variations on a Ninth), he chose a more appropriate one. As Gregson has written, 'Connotations suggests more than one way of looking at something, an idea, and this is exactly what the piece is about'.Writing a competition piece brought its own problems. 'It has to be technically difficult and yet musically satisfying. I didn't like being kept to an eleven-minute maximum. The inclusion of short cadenzas for less usual solo instruments seems to signify a certain test-piece mentality'.Gregson solved the problems admirably by adopting a symphonic approach to variation form: Introduction - fanfares, a call to attention, in effect Variation 1; Theme - a six-note motif, given a lyrical and restrained first statement; Variation 2 - a delicate toccata; Variation 3 - typically robust in melody and rhythm; Variation 4 - lyrical solos; Variation 5 - a scherzo; Variation 6 - cadenzas; Variations 7-9 - an introduction, fugato and resounding restatement of the theme.Duration: 10.30
Estimated dispatch 7-14 working days
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£17.50
The Adventurers (Brass Band - Score only) - Cordner, Martin
The Adventurers was commissioned by Hempstead Citadel Band (USA) for its anniversary celebrations in 2013. With a respectful nod to film music composers such as Broughton and Williams The Adventurers portrays, in an action movie style, the joys and challenges of the Christian journey. In three movements, it features familiar songs; He leadeth me! O bless?d thought; By his hand (an acknowledgement to composer and songwriter Thomas Mack who is a long-serving member of Hempstead Citadel Band); and Lead me, lest I stray. The message of the music is clear: that in order for life to be lived as an adventure, it is best walked with and ed by Jesus Christ, the ultimate adventure-maker.
Estimated dispatch 7-14 working days
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£40.00A Wartime Sketchbook (Brass Band - Score only) - Walton, William - Hindmarsh, Paul
Early in 1941 William Walton, 39, received his call-up papers. He was by then one of the most eminent of British composers and was exempted from military service on condition that he provided music for films deemed to be of 'national importance'. Scoring Lawrence Olivier's Shakespeare epic Henry V in 1943 was the most substantial of these wartime projects. His role in patriotic films from 1941 and 42 like The Foreman went to France, Next of Kin, Went the day Well and The First of the Few was to provide appropriate title music and some underscoring at key moments. Walton extracted the most substantial portions of the latter as the popular Spitfire Prelude and Fugue for orchestra. The remaining music remained unpublished until 1990, when Christopher Palmer assembled the highlights into A Wartime Sketchbook. I was intrigued to hear these examples of Walton's wartime music and having discovered that they would fit naturally and idiomatically onto the brass band, I arranged six of the numbers into a suite for Besses o' th' Barn Band, which I was conducting at the time.In 1995 the brass band suite was recorded by the famous Black Dyke Mills Band as part of an all Walton album which I produced for the ASV label (ASV CD WHL 2093). This award- winning CD also included Walton's First Shoot, in the edition by Elgar Howarth, my transcription of movements from Music for Children and two substantial brass versions by Edward Watson of the suite from Henry V (with narrator) and the March and Siegfried Music from The Battle of Britain music.Prologue: This is the stirring title music from Went the day Well, a screen play by Graham Greene about a German airborne invasion of an English village. The main theme leads toBicycle Chase: Characteristic musical high-jinks for J.B.Priestley's The Foreman went to France.Refugees: From the same film, this is a poignant accompaniment to the long march of refugees. As Ernest Irving, the film's musical director, put it, "this really makes your feet sore and your knees sag."Young Siegfrieds: This lively movement comes from the music that Walton composed for The Battle of Britain in 1968, with the assistance of Malcolm Arnold, but which the film's producer rejected. It portrays first the Berliners, cheerfully ignoring the black-out and then, in the trio, the Young Siegfrieds of the Luftwaffe, courtesy of a parody of Siegfried's horn call from Wagner's opera.Romance: A soldier and a Dutch refugee snatch a few tender moments together in Next of Kin.Epilogue: At the end of The Foreman went to France, the French look forward with hope and optimism to eventual liberation.- Paul HindmarshDuration: 14.00
Estimated dispatch 7-14 working days
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£24.95Music for Greenwich (Brass Band - Score only) - Gregson, Edward
Music for Greenwich was commissioned in 1980 by the Greenwich Theatre, London, for a new production of Peter Buckman's play 'All Together Now'.In this play, about a down-at-heels brass band in the North of England brought to a new level of self-confidence and achievement by an incoming conductor, the whole cast performed a test piece on stage every night (i.e. Music for Greenwich), in readiness for a competition which they have entered and, of course, win. Although the play is as much a social commentary as anything to do with music-making, every member of the cast had to be able to play a brass instrument to a greater or lesser extent (a difficult challenge for the casting Director!).For obvious reasons, the music is not technically difficult. The work is structured as follows: a brief fanfare-like opening is followed by an allegro section, rhythmic and playful; a slow lyrical section is then introduced (a suitably nostalgic melody featuring solos for cornet and trombone), before a return to the fast music, a hint of the fanfare, and finally a climactic flourish to round things off. This is music to be enjoyed, as hopefully it was every night by the audience and actors alike.Duration: 5.00
Estimated dispatch 7-14 working days
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£34.95
SLOW RIDE IN A STATIC MACHINE, A (Brass Band) - Lawrence, Phil
A Slow Ride in a Static Machine was inspired some time ago when my (late) Father came to visit me "down in London" as he put it. It was based not on one of his circular mishaps, but on several! He was always directed carefully, but refused to carry a map in the car! At one time when I lived in North London I would meet him outside the capital, and he would then follow be back to my place, but after I moved to East London I made him bite the navigational bullet and transverse the 'M25 Orbital'. His main problem seemed to be getting off this mesmerising circular cark park. He would often phone (in a weary tone) from the Dartford Tunnel (which is 5 junctions past the one he needed to get off at), asking me to, "bring him in" so to speak. I would always refuse. And then, he would do the opposite (especially when travelling at night), he would phone me up from near Cambridge (he'd gone the wrong way up the M11 away from London by 45 miles), and would ask where he was!The title is obviously a play on John Adams' composition, A Short Ride In A Fast Machine. This quirky tone poem starts as a wind-up by using those unwanted intervals of augmented 4th's and minor 9th's & 7th's in the main tune, before hearing the road works, the juggernauts multi horns, fender-benders, ambulance and police sirens! This then all works to a back beat on kit. The wind-up start gets to an almost Go-Go 1960's Disco middle section (the nostalgic hay-days of the open road), where our wind-up tune falls into place and we all relax as we can now drive at 42.1 mph! We DC, and then get into a right car mess in the Coda!Phil Lawrence.Duration:4:00
Estimated dispatch 7-14 working days
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£15.00Harrison's Dream (Brass Band - Study Score) - Graham, Peter
At 8.00pm on the 22nd of October 1707, the Association, flagship of the Royal Navy, struck rocks off the Scilly Isles with the loss of the entire crew. Throughout the rest of the evening the remaining three ships in the fleet suffered the same fate. Only 26 of the original 1,647 crew members survived. This disaster was a direct result of an inability to calculate longitude, the most pressing scientific problem of the time. It pushed the longitude question to the forefront of the national consciousness and precipitated the Longitude Act. Parliament funded a prize of �20,000 to anyone whose method or device would solve the dilemma.For carpenter and self-taught clockmaker John Harrison, this was the beginning of a 40 year obsession. To calculate longitude it is necessary to know the time aboard ship and at the home port or place of known longitude, at precisely the same moment. Harrison's dream was to build a clock so accurate that this calculation could be made, an audacious feat of engineering.This work reflects on aspects of this epic tale, brilliantly brought to life in Dava Sobel's book Longitude. Much of the music is mechanistic in tone and is constructed along precise mathematical and metrical lines. The heart of the work however is human - the attraction of the �20,000 prize is often cited as Harrison's motivation. However, the realisation that countless lives depended on a solution was one which haunted Harrison. The emotional core of the music reflects on this, and in particular the evening of 22ndOctober 1707.- Peter GrahamJuly 2000 Recorded on Polyphonic QPRL219D Master Brass (Volume Fifteen). Duration: 14'30"
Estimated dispatch 7-14 working days
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£22.50
Trailblazers (Brass Band - Score only) - Mackereth, Andrew
This overture draws its inspiration from the story of the first Household Troops Band. It tells the story of the 1887 band, the subsequent lull of nearly a hundred years and the re-awakening of the Troops phenomenon in 1985. It was originally written in 1995 and featured prominently by the band on its North American tour of 2002. Given the history of the Household Troops Band, it is fitting that this composition is preoccupied with marching. It begins with a marching song played by a solitary muted cornet, symbolic not only of the call to bandsmen to join the evangelical effort but also a muso-dramatic device to indicate the steady increase in members and technical ability! The music quickly develops into stirring versions of 'A robe of white' and 'Storm the forts of darkness' with two early day Salvation Army tunes crucially adding to the narrative; 'Marching on in the light of God' and 'Soldiers of our God, arise!' The second section is a reflective setting of the Herbert Booth song, 'The penitent's plea'. This song serves to represent the many people who were 'saved' during those early day campaigns. The expressive music transports the listener through a period of uncertainty and angst until finally reaching the song, 'There is a message, a simple message, and it's a message for us all'. The final section deals first with the emergence from the annals of history with the muted cornet figure again before, symbolically, the present day band bursts forth with an emphatic statement of 'Would you be free from your burden of sin? There's power in the blood'. The stirring climax represents a fitting tribute to those gallant pioneering musicians and their equally impressive and dedicated contemporaries.
Estimated dispatch 7-14 working days
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