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£44.00
Don't Sit Under the Apple Tree - Stept-Brown-Tobias - Bjorn Morten Kjaernes
"Don't Sit Under the Apple Tree (With Anyone Else but Me)" is a popular song that was made famous by Glenn Miller and by the Andrews Sisters during World War II. Its lyrics are the words of two young lovers who pledge their fidelity while one of them is away serving in the war. Originally titled "Anywhere the Bluebird Goes", the melody was written by Sam H. Stept as an updated version of the nineteenth-century English folk song "Long, Long Ago". Lew Brown and Charles Tobias wrote the lyrics and the song debuted in the 1939 Broadway musical Yokel Boy. After the United States entered the war in December 1941, Brown and Tobias modified the lyrics to their current form, with the chorus ending with "...'till I come marching home".In 1942 the song was featured in the film Private Buckaroo as a performance by the Andrews Sisters with the Harry James orchestra and featuring a tap dancing routine by The Jivin' Jacks and Jills. It was featured in the films Twelve O'Clock High (1949), With a Song in My Heart (1952), Kiss Them for Me (1957), A Carol for Another Christmas (1964), In Dreams (1999) and The Master (2012). It also featured in the mini-series The Pacific. You can use the song both on musical concerts, movie concerts or just as a happy jazz tune on your next concert. On the sections (like from bar 25), please work carefully to make a good balance with all parts, and that each chord is balanced. With 4-part harmonies sometimes you need to hold back certain notes to make the accord sound good. If you want to open up for a longer improvisation, you can repeat 65 to 81, but then change the part 2 in bar 80 from Eb to a D on the repeat. The accord will be an F6 instead of F7 (on beat 3 and 4 in bar 80) Have fun and enjoy!
Estimated dispatch 7-14 working days
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£84.55Chorale Tangents (Brass Band) Kenneth Downie
VIEW SCORE PDF This magnificent work by Kenneth Downie was commissioned by Festival Brass Band of Belgium, and its conductor Manu Mellaerts. It was first performed by the band on 10th October 2010, in Mechelen, a beautiful old city in the province of Antwerp. The composer writes: 'The chorale in the title is the famous one associated with the words 'Now thank we all our God', dating from 17th century Germany. The words were written by Martin Rinkart and the music by Johann Cruger. The use of the word 'tangents' in the title can best be understood as variations. This is another set of variations, in the line of St. Magnus, Princethorpe and Purcell Variations. I still cannot resist the urge to present familiar material in an unfamiliar way! Hopefully, the listener can relate to these tangents, and experience some of the joy that I receive when writing them.' To view a video of Festival Brass Band performing the work please visit: https://www.youtube.com/watch?v=Kc83_BYkZSc Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Instrumentation: Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd 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 Bb Bass Eb Bass Bb Timpani Percussion 1-3
In Stock: Estimated dispatch 1-3 working days
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£29.41Alegria (Cornet Feature with Brass Band) Barrie Gott
This foot-tapping Latin-style cornet feature showcasing the front row was written by Barrie Gott for the Brisbane Excelsior Band. The composer writes: 'I had wanted to write something in this genre after the success of the third movement of the Jazz Suite. Entertainment numbers are always needed for park and popular concerts. It is important that the rhythm section maintains a consistent tempo. They can be featured also. The samba rhythm and feel should be maintained throughout. The occasional sombrero would not be out of place. Enjoy!' To view a follow-the-score video of the work please visit www.youtube.com/watch?v=TpFZPX3glxo PDF download includes score and parts. Sheet music available from: UK - www.brassband.co.uk USA - https://satradecentral.org Difficulty Level: 3rd Section + Length: 2.40 minutes Instrumentation: Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd 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 Bb Bass Eb Bass Bb Drum Kit Claves Maracas Cowbell Xylophone
In Stock: Estimated dispatch 1-3 working days
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£33.08Have Yourself a Merry Little Christmas (Vocal or Flugel/Cornet Solo with Band)
This attractive Bossa Nova-style arrangement for vocal or flugel/cornet soloist with brass band has been made by Australian composer Sam Creamer. The key is suitable for male or female vocalists, or in the absence of a vocal soloist a part has been supplied for flugel horn or cornet soloist. A piano accompaniment that matches this band arrangement is also available here and may be used as an alternate accompaniment in the absence of a full band, or can be used simultaneously by a rhythm section alongside the brass band. Have Yourself a Merry Little Christmas has been a Christmas favourite to many since its first release, extensively featuring in Christmas movies, broadcasts and programming. It has also been recorded numerous times by artists including Judy Garland, Frank Sinatra, Tori Amos, Michael Buble, Christina Aguilera, and Chicago. To view a rolling score video of this piece please visit www.youtube.com/watch?v=sSZHxzsJheg Duration: Approx. 3.00 minutes Difficulty Level: Medium Easy PDF download includes parts and score. Sheet music available from www.brassband.co.uk or www.durhammusicshop.co.uk (UK) or https://satradecentral.org (US) Instrumentation: Vocal Soloist Cornet/Flugel Horn Soloist Bb Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd 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 Bb Bass Eb Bass BbPercussion I (Timpani, Vibraphone, Glockenspiel) Percussion II (Bongos, Shaker, Triangle) Percussion III(Drum Set)
In Stock: Estimated dispatch 1-3 working days
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£40.00The Unfortunate Traveller (Brass Band - Score only) - Holst, Imogen - Hindmarsh, Paul
Imogen Holst (1907-1984) submitted The Unfortunate Traveller (1929) as her final work as a student portfolio at the Royal College of Music, where her composition teacher was Gordon Jacob. The title was taken from Thomas Nashe's famous 1594 picaresque novel of the same title. The Suite was first performed on 12 February 1933 at her Majesty's Theatre, Carlisle, by the St. Stephen's Band, with the composer conducting. Te concert was given in memory of Holst's uncle, Dr. H.A. Lediard. Holst had been impressed with the band's performance of his A Moorside Suite at the 1928 National Brass Band Championships (The Crystal Palace, South London) and was keen to work with them. Writing in Imogen Holst, a life in music, Christopher Grogan indicates that it was Gustav Holst's suggestion to include his daughter's work in the programme, quoting Imogen Holst's remarks made in interview to The Daily Mail as follows: "....it is the first time, so far as I know, that a woman has conducted a brass band at a public concert....It has been a delight to rehearse the St. Stephen's Band. It was their performance at the Crystal Palace Festival that inspired me to write this Suite, which I have dedicated to them."Imogen Holst accompanied her father to the Crystal Palace in 1928 to hear the performances of A Moorside Suite, and was so excited by the played and, audibly, by her father's music that she decided to write a brass band piece for her final examination. Te result was The Unfortunate Traveller (1929). However, it was not possible for her to present a brass band work for examination. She arranged it for string orchestra so that it could be played before she left the RCM in July 1930. Following the premiere of the original in 1933, the manuscripts did not resurface until 1969 Imogen found them among her late mother's effects. Although she requested score and parts be destroyed, they ended up in the possession of Manchester composer John Golland, who marked up the score presumably with the intention of creating a new performing edition. The original scoring reveals a lack of experience with what can be a tricky medium.With the agreement of the Holst Foundation, a revised edition, with additional percussion, was prepared in 2011 since when the work has been fortunate to travel round the world as a concert and contest piece. The original includes drums in the March only. The title was taken from Tomas Nashe's famous 1594 picaresque novel of the same title. Several Morris Dance tunes are introduced during the course of the four short movements, including Bonnie Green Garters, Shepherd's Hey, The Rose and The Wind Blaws Cauld. Quirky twists and turns of harmony and spirited rhythms that remind us how much Imogen Holst loved tradition English dance music.In September 2025, I made a performing edition of the composer's arrangement for string orchestra. The manuscript lacks the final movement, which I arranged in a similar style, ie. without extending the upper ranges. Making this edition raised some issues regarding the accuracy of my band version and some of the solutions I used to smooth out the voicing. I have used the composer's second thoughts to refine my performing edition and to correct a textual errors.- Paul HindmarshDuration: 10.00
Estimated dispatch 7-14 working days
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£45.00Diversions after Benjamin Britten (Brass Band - Score only)
Suite by Lucy Pankhurst, Simon Dobson, Paul McGhee and Gavin HigginsHaving devised a collective centenary tribute for Michael Tippett at the 2006 RNCM Festival of Brass (Variations on a Theme of Michael Tippett by five eminent composers of brass band music, PHM002), I commissioned this companion piece as a Benjamin Britten tribute for the 2013 festival. In the late 1970s, while researching a book about the English composer, and Britten's first teacher, Frank Bridge (1879 - 1941), I came across a copy of the printed score of Benjamin Britten's Variations on a Theme of Frank Bridge (Op.10) for string orchestra, in which Britten had written descriptive titles for each of the variations suggesting appropriate character traits of his much loved mentor and guide. The character variations are cast in march, song and dance forms.Taking inspiration from Britten's youthful tribute, I invited four award-winning composers, who have all made significant contributions to the brass band medium, to create their own personal reflections on four aspects of Britten's character and music, designed to form a suite of Diversions after Benjamin Britten, but which can also be played separately.Lucy Pankhurst's hauntingly lyrical Prelude: His Depth refers to the emotional and symbolic subtexts that underpin Britten's operas, taking its musical cue from Britten's many arrangements of folk songs. The flugel horn takes a prominent role throughout.Simon Dobson's breathless Scherzo: His Vitality reminds us with its rapid passage work and leaping bass 'groove' that Britten loved tennis and fast cars in his younger days.Paul McGhee's evocative interpretation of the March: His Sympathy represents Benjamin Britten's pacifism, as the composer writes: 'We view the music through the eyes of a pacifist. Whilst war and violence surround us, we do not engage in it and though it continues to happen around us. With the use of muted effects in most of the band throughout the piece, the flugel horn is the lone voice of reason, standing firm against the mechanical and destructive society in which it is forced to live. As the machine of war continues around the lone voice, the voice is gradually dismissed and mocked as the war machine rumbles on into the distance.'In an extended finale, entitled Toccata: His Skill, Gavin Higgins celebrates Benjamin Britten's consummate creativity. For the RNCM Festival of Brass premiere, the four contrasting movements were framed and connected by Britten's Fanfare for St. Edmundsbury for three trumpets, with the trumpet soloists spaced round the hall. I am grateful to the Britten Estate and publishers Boosey & Hawkes for giving permission for the elements of Britten's fanfare to be incorporated in the collective work.- Paul HindmarshDuration: 19.30
Estimated dispatch 7-14 working days
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£105.20Lullaby for small goblins - Gudny Hagen - Philip A. Kruse
"Amalies Christmas" is a Norwegian TV series for children, produced by NRK in 1995, and broadcasted again in 19976, and in 2000.The program consisted of 24 episodes, and follows Amalie Wang (Anne Marie Ottesen) making preperations forChristmas in an old house where there lived goblins. The program was the first of many to follow, based on the author Gudny I. Hagens characters. The music is composed by Philip A. Kruse, and all episodes ended with the goblin family (HaraldHeide-Steen jr., Brit Elisabeth Haagensli og Pia Borgli) singing "Lullaby for small goblins".This arrangement for young concert band may be performed with different instrumental soloist or vocalist.Chords are included for piano/guitar. It isimportant to focus on the dynamics and the tempo. The soloist must be heard clearly and adding a choir in the refrains makes it even nicer. It is a melodic song that suits being performed in churches and rooms with ambience. The song is often usedaround Christmas time, but it is written as a small lullaby that can be played anytime.
Estimated dispatch 5-14 working days
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£115.60Stjernen og Rosa - John Philip Haqnnevik
The Star and a Rose is a big-scale Christmas piece for band, featuring four seasonal chorales.The first is a Gregorian-like chant Hodie Christus natus est.In this section of the piece, a soloist can be placed away from the band, maybe on a gallery. The soloist can be a tenor instrument, maybe trombone, or you can feature a vocal soloist.After this, the music leads us on to the old German Christmas chorale Lo, how a rose e'er blooming. This song is given a fairly rhythmical treatment, but make sure that the melody is presented in a cantabile style.An interlude follows, before the piece presents one of the most used and loved Scandinavian Christmas chorales, Mitt hjerte alltid vanker (My Heart will always wander), composed by the Danish bishop Hans Adolph Brorson around 1732. This song is building towards a climax, before the solo horn brings it all down to the Stable view described in the lyrics.Then comes a transition that brings us in to the final section of the piece, which presents the international Christmas Carol Adeste Fideles. As many will notice, I have borrowed a section from David Wilcocks majestic harmonization towards the end.The title of the piece has its background form the lyrics in My heart will always wander, where the text speaks about the stars in the sky. But also in the latin text for Adeste Fideles:Stella duce, Magi, Christum adorantesThe Rose is of course from the lyrics in the chorale Lo, how a Rose.
Estimated dispatch 5-14 working days
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£64.40The Master Plan! - Dean Jones
We all have a purpose...whether those are found in daily routines or much larger parts of our lives. Having a plan or a goal is a great way we can measure our success. Here's a small piece of music that explores 3 such elements:Covert Mission - a militaristic theme where the music conveys action and drama.Finding Someone - at some point, we share our lives with people who are special to us. The music has a more lyrical feel to help illustrate affection.Life Goals! - the strong rhythmic pattern to this section is the undertone for portraying a a sense of focus. We need to match desire with action when attempting something new - the sense of excitement and hope will need to be drawn from the music to convey this message.The music tells a compelling story of purpose, hope and passion....in the words of Col. Hannibal Smith from the A-Team, "I love it when a plan comes together!"
Estimated dispatch 5-14 working days
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£69.95
TRANSFORMATION (Brass Band Set) - Kenneth Downie
I believe in transformation, God can change the hearts of men, And refine the evil nature, till it glows with grace again'. So wrote John Gowans in the second verse of his great hymn, 'I believe that God the Father, can be seen in God the Son', written specifically to affirm Salvationists' beliefs. It is sung to the tune Bethany and in seeking to explore this great subject at the heart of the Christian gospel in musical terms, the composer has used this fine tune as the basis. Although it never appears in its entirety, it is seldom out of the picture and much of the work is derived from it. The other main source of material is the lovely, simple chorus, 'Some day I shall be like him, changed to heavenly beauty, when his face I see'. This chorus is especially prominent in the middle section but there are important references to it throughout. There are also brief references to Charles Wesley's hymn, 'Love Divine' and, in particular, the telling lines, 'Changed from glory into glory, till in Heaven we take our place'. The work suggests that, at times, the process of being transformed is a struggle, portrayed with many passages of fraught and demanding music. Considerable reserves of stamina and technique are required while, in contrast, the chorus, 'Some day I shall be like him' provides the warm, gentle centre of the work. The premiere of the work was given by The International Staff Band of The Salvation Army in Cadogan Hall on Friday 3rd June 2011, as part of the band's 120th anniversary celebrations.
Estimated dispatch 7-14 working days
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