Results
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£68.00
Nearer, My God, To Thee (Bra) - Lowell Mason & James L. Stevens - Mike Kilmartin
"Nearer, My God, to Thee" is a 19th-century Christian hymn which retells a story from 'Genesis': "So he came to a certain place and stayed there all night, because the sun had set. And he took one of the stones of that place and put it at his head, and he lay down in that place to sleep. Then he dreamed, and behold, a ladder was set up on the earth, and its top reached to heaven; and there the angels of God were ascending and descending on it..."The hymn was also used by other composers like Carl Nielsen and Charles Ives, and was played by the string ensemble on the movie 'Titanic' when the vessel sank.This arrangement is based on the beautiful BYO choir version and Mike Kilmartin did a great job making a lovely band version of it.
Estimated dispatch 7-14 working days
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£30.00A Rachmaninoff Prelude - Rachmaninoff
An arrangement by Tim Paton of this Rachmaninoff favourite for brass band.Comments from Tim:I first heard the Rachmaninoff Prelude in G minor when my brother, (Dr) Rod Paton, used to play it on the piano. The martial sound of the opening theme caught my imagination, and I knew then that this piece would sound magnificent if played by a brass band - if you like the music of Rachmaninoff, then you will love this piece! That spectacular sound that we all know, with busy, melodic bass lines, and a middle section in his well known 'romantic' style - I could already hear the euphonium playing those rippling arpeggios. In response to the enthusiasm for this magnificent piece, I have lightheartedly commented that maybe he wrote it for brass band, but there wasn't one available, so he did it for piano instead!Look and Listen (Score-reading digital sound sample):
In Stock: Estimated dispatch 3-5 working days
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£29.50Bewitched - Howard Greenfield - Gavin Somerset
In 1964, the pilot to the new American sitcom 'Bewitched' was completed. The original screening used Frank Sinatra's 'Witchcraft' as the music for the opening titles, however, the production company did not want to pay the large fee to use this track and so, Greenfield & Keller were asked to compose an alternative. The foot-tapping swing piece they produced was reduced to an instrumental version with a light orchestra for the opening credits. However, the song has now been recorded several times. The most famous recording by Steve Lawrence was also featured in the film 'Bewitched' released in 2005. Since then, it has also appeared on the X-Factor a number of times. This fantastic swing item now comes arranged for brass band with the option of playing it at the Steve Lawrence song tempo, or the fast, big band instrumental tempo used in the TV Series. An optional, lower pitched part is also included between letters E-F for the cornet section & flugel to make the item more accessible to lower section bands. This item is a great swing number that audiences of all ages will recognize, a great piece for your new program & a must for every band looking to inject some life into their concerts.
In Stock: Estimated dispatch 1-3 working days
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£78.20The Rocketeer - James Horner - Roland Smeets
Before Titanic,James Horner was not above composing scores for cartoonish family films, and many of those that brought him on their production board owe him greatly. The Rocketeer entails the story of a young pilot during World War II who happens upon a rocket pack that allows him to fly. The film is based on the tradition of old film serials that left theater-goers hanging with "To be continued," and aside from modern production, it is old fashioned and innocent fun. Horner's score begins and ends with the brilliant "Main Title," which is so moving it was used in previews for later films that did not yet have finished scores. Most of th Rocketeersoundtrack elicits the adventure and lifting spirit of the film and reveals how Horner incorporates rich instrumentals in the tiniest crevices. Even when the film involves danger, as in "Jenny's Rescue," the composer takes care when it is hardly even required. Instead of some "duh-duh-duhs," he brings on a full, stunning orchestra and when he overdoes it, it is in a jolly way -- he never exhausts his medium. That is what separates him from inferior composers, and what makes a nice film like The Rocketeer extra nice. It is a soundtrack worth listening to.
Estimated dispatch 5-14 working days
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£127.30Rendezvous - Torstein Aagaard-Nilsen
Rendezvous was commissioned by Krohnengen Brass Band for their 50th Anniversary in 2019.Rendezvous is devided into three sections. Each section are referring to Edvard Grieg's own titles. but twisted, to make sure that everybody understand that this music is a mash-up of themes Edvard Grieg used in opus 54 (for piano) and opus 61 (songs for children).1. Trolltog med avsporing (March of the Trolls derailment)March of the Trolls is a famous part of Edvard Grieg lyric pieces, opus 54.2. Klokkeklang i feil sang (Bell ringing in wrong tune).Bell ringing show that Grieg was one of the first composers to write the way impressionists did. What happens if this beatiful piece is combined with several other themes from the same book? It somehow works in its own way.3. Pep talk til Blakken (Pep talk to Blakken)The riff used in the first part becomes an important part of the third part: a funky treat of the childrens song "Kveldssang for Blakken" (Evening song for Blakken).I felt that a rather tired old horse needed a pep talk more than a slow tune. So that is why you get this music(!) - and this is how my rendezvous with Grieg ends.Not sure what maestro Grieg would have thougt... But, I have read that the fiddlers that played the tunes Grieg used was not happy with the way Grieg used them.So there you go...Torstein Aagaard-Nilsen
Estimated dispatch 5-14 working days
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£59.95Essay - Edward Gregson
This work was specially commissioned as the test piece for a new brass band competition in 1971, held at the Royal Albert Hall, London. It is in three movements, the titles of which all have literary connotations. The first movement, Dialoguetakes the form of 'conversations' between the instruments. The second movement, Soliloquy is dedicated to the memory of Gilbert Vinter - a composer who did so much in the 1960s to bring the brass band into the modern world. The final movement,Epigram, creates strong rhythmic contrasts and exploits the more virtuoso character of the brass band.
Estimated dispatch 5-14 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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£40.00The Unfortunate Traveller (Brass Band - Score only)
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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£29.95Adam Zero, Suite from (Brass Band - Score only) - Bliss, Arthur - Childs, Robert
Selected as the Section 2 test piece for the National Brass Band Championships of Great Britain 2025Following his ballet Checkmate, Bliss composed another score for the, by then, Sadler's Wells Ballet, Miracle in the Gorbals, which was choreographed by Robert Helpmann, to a scenario by Michael Benthall. Premired in 1944, the ballet made a considerable impact and was a box-office success. It was followed in turn by a further collaboration with Helpmann and Benthall, Adam Zero. This would serve Helpmann, in the eponymous role, as a vehicle in two respects: demonstrating his gifts as a dancer-actor and as a choreographer. First performed at the Royal Opera House, Covent Garden, on 8 April 1946, Adam Zero was conducted by Constant Lambert, the work's dedicatee. Bliss considered it 'his most varied and exciting ballet score'. Benthall provided a synopsis for the programme:There is a philosophy that life moves in an endless series of timeless cycles. As Nature passes through Spring, Summer, Autumn and Winter, so man is born, makes a success in his own particular sphere, loses his position to a younger generation, sees his world crumble before his eyes and only finds peace in death. This age-old story is told in terms of a Company creating a ballet and calling on the resources of the theatre to do so. Lighting, stage mechanism, dance conventions, musical forms and costumes and scenery of all periods are used to symbolize the world of 'Adam Zero'.Apart from Adam, as the Principal Dancer, other main roles included the Stage Director (representing Omnipotence), and Adam's Fates (Designer, Wardrobe Mistress, and Dresser). 'The Woman in this allegory', wrote Bliss, 'under the symbol of the Choreographer, was both the creator and destroyer of Adam: his first love, his wife, his mistress, and finally the figure of beneficent Death.' When the curtain rose, the 'audience saw the Covent Garden stage right back to the wall, completely empty except for the protagonists, 'the Company poised, still and expectant, as they await the birth of... Adam Zero.'Unfortunately, soon after the premire, Helpmann injured himself and had to withdraw from the remaining performances. Despite generally positive reviews, the ballet did not capture the imagination of audiences and, to Bliss's considerable disappointment, was not revived. Seventy years would elapse before its first major return to the stage, in 2016, performed by the ballet company of Stadttheater Bremerhaven with choreography by Sergei Vanaev.Bliss extracted a concert suite from the ballet, conducting its first performance with the City of Birmingham Symphony Orchestra on 28 October 1948. For his own suite, arranged for brass band in 2023, Dr Robert Childs chose three dances linked to the seasons, book-ending them with the ebullient 'Fanfare Overture' and 'Fanfare Coda'. After Adam has grown to manhood, his Fates clothe him in a costume synonymous with confident youth, appropriate for the virile, ardent 'Dance of Spring'. In the 'Approach of Autumn', Adam, now wearing a sombre costume, has grown older: his Fates have streaked grey in his hair and put lines on his face. But they had earlier raised Adam to the zenith of his power, and the 'Dance of Summer' depicts him in the prime of life, in music of sweeping grandeur. The 'Fanfare Coda' signals that the next cycle of life is about to begin.Duration: 10.30
Estimated dispatch 7-14 working days
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£19.65
Adam Zero, Suite from (Brass Band - Study Score) - Bliss, Arthur - Childs, Robert
Selected as the Section 2 test piece for the National Brass Band Championships of Great Britain 2025Following his ballet Checkmate, Bliss composed another score for the, by then, Sadler's Wells Ballet, Miracle in the Gorbals, which was choreographed by Robert Helpmann, to a scenario by Michael Benthall. Premired in 1944, the ballet made a considerable impact and was a box-office success. It was followed in turn by a further collaboration with Helpmann and Benthall, Adam Zero. This would serve Helpmann, in the eponymous role, as a vehicle in two respects: demonstrating his gifts as a dancer-actor and as a choreographer. First performed at the Royal Opera House, Covent Garden, on 8 April 1946, Adam Zero was conducted by Constant Lambert, the work's dedicatee. Bliss considered it 'his most varied and exciting ballet score'. Benthall provided a synopsis for the programme:There is a philosophy that life moves in an endless series of timeless cycles. As Nature passes through Spring, Summer, Autumn and Winter, so man is born, makes a success in his own particular sphere, loses his position to a younger generation, sees his world crumble before his eyes and only finds peace in death. This age-old story is told in terms of a Company creating a ballet and calling on the resources of the theatre to do so. Lighting, stage mechanism, dance conventions, musical forms and costumes and scenery of all periods are used to symbolize the world of 'Adam Zero'.Apart from Adam, as the Principal Dancer, other main roles included the Stage Director (representing Omnipotence), and Adam's Fates (Designer, Wardrobe Mistress, and Dresser). 'The Woman in this allegory', wrote Bliss, 'under the symbol of the Choreographer, was both the creator and destroyer of Adam: his first love, his wife, his mistress, and finally the figure of beneficent Death.' When the curtain rose, the 'audience saw the Covent Garden stage right back to the wall, completely empty except for the protagonists, 'the Company poised, still and expectant, as they await the birth of... Adam Zero.'Unfortunately, soon after the premire, Helpmann injured himself and had to withdraw from the remaining performances. Despite generally positive reviews, the ballet did not capture the imagination of audiences and, to Bliss's considerable disappointment, was not revived. Seventy years would elapse before its first major return to the stage, in 2016, performed by the ballet company of Stadttheater Bremerhaven with choreography by Sergei Vanaev.Bliss extracted a concert suite from the ballet, conducting its first performance with the City of Birmingham Symphony Orchestra on 28 October 1948. For his own suite, arranged for brass band in 2023, Dr Robert Childs chose three dances linked to the seasons, book-ending them with the ebullient 'Fanfare Overture' and 'Fanfare Coda'. After Adam has grown to manhood, his Fates clothe him in a costume synonymous with confident youth, appropriate for the virile, ardent 'Dance of Spring'. In the 'Approach of Autumn', Adam, now wearing a sombre costume, has grown older: his Fates have streaked grey in his hair and put lines on his face. But they had earlier raised Adam to the zenith of his power, and the 'Dance of Summer' depicts him in the prime of life, in music of sweeping grandeur. The 'Fanfare Coda' signals that the next cycle of life is about to begin.Duration: 10.30
Estimated dispatch 7-14 working days
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