Results
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£107.80Myrsnipa - Vocal or Instrumental Solo - Jan Eggum - David Hveem
Jan Eggum released "Myrsnipa" on the album "Hjerteknuser", which was released in 2007. The text is a variant of the folk tale with the moral "everyone likes their own children best and has for many years been one of Eggum's regular encores at concerts.The arrangement is attempted to stay true to Eggum's version and has retained its somewhat delicate character in order to support the text as much as possible. Although the arrangement is written for vocal soloist, it also works great with a solo instrument instead, and you can also choose whether you want a guitar or not, to keep it even more true to the original recording.The arrangement requires good balance and intonation, but will be a nice part of the concert repertoire the audience is guaranteed to recognize.
Estimated dispatch 5-14 working days
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£115.60Fred synger klokkene - Eyvind Skeie - Øystein S. Heimdal
This song was featured in a Norwegian advent calender TV-series in 1992. The TV-series was produced and broadcasted by the Norwegian Broadcasting Corporation (NRK).The song is atmospheric and this arrangement gives the band and conductor opportunity to work on dynamics, balance and phrasing.
Estimated dispatch 5-14 working days
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£115.60Tenn Lys - Eyvind Skeie - Reid Gilje
"Candles in Advent" is a beautiful melody with great lyrics. It was originally written for an Norwegian Advent TV-series in 1985.In this arrangement, the flugelhorn has some solo lines. I Have tried to vary the instrumentation without going beyond the beautiful Christmas mood.The harmonization is simple and functional. Let the soloists "speak" with good phrasing and focus also on harmony in the unison melody lines. Good balance and intonation in the accompaniment can make the performance a little gem on the Christmas concert.- Reid Gilje -
Estimated dispatch 5-14 working days
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£107.80Joleklokker over jorda - Anders Hovden - Reid Gilje
This music was written by Richard Nordraak in 1860.The present arrangement can be performed with or without choir/soprano soloist.Minor phrasings are preferable, but be aware of the balance throughout the piece.The Christmas mood are essential here, but please also make room for the chamber music.
Estimated dispatch 5-14 working days
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£37.97Nicaea - Band Warm-up (Brass Band) John Bacchus Dykes arr. Steve Kellner
This warm-up is designed to help players and conductors hear and improve section, group, and full band intonation, rhythmic precision, and balance in an efficient and musically satisfying way. The tune Nicaea was selected because of its easy-to-hear triads and intervals, and the harmonisation used throughout is purposely simple and consistent, so that the players can become very familiar with potential intonation trouble spots. Likewise, discrepancies in precision and balance will easily be heard. Keys have been carefully selected to expose specific intonation problems within the sections and groups, like the overlap between Eb and Bb instruments in the horns/baritones and later in euphoniums/basses, and 5th position tuning in the trombones. The format in sections 2 through 5 is consistent, beginning with a single section of the band playing in unison, then expanding into two-part and four-part harmony. After eight bars that section is joined by another section or sections to form a common multi-section group used in brass band scoring, such as the 'mellow choir', 'low brass', 'tuba-euphonium choir', and 'bright choir'. Section 6 features the two largest groupings, the 'all but cornets' and 'high brass'. Section 7 brings the whole band together for a majestic and powerful finish. To view a rolling score video please visit https://www.youtube.com/watch?v=RR3zQhsNTuc Duration: Approx. 5.10 minutes Difficulty Level: 4th Section + Sheet music available from www.brassband.co.uk 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 Percussion 1-2
In Stock: Estimated dispatch 1-3 working days
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£73.00
Stealing Apples - Fats Waller - Reid Gilje
"Stealing Apples" is an old swing-tune written by Fats Waller. Performances by Benny Goodman and his big band made the song very popular.In this arrangement for brass band, the mallet percussion is very essential. Mallet Percussion presents the melody from letter A and is also featured as soli-instruments from letter L to P. These parts can alternatively be played as vibraphone solo.Please be aware of the balance at letter A. Horn and Trombones must play piano but well articulated. Letter D must sound sparkling and fresh with articulated and powerful trombones and cornets (using straight-mute).Make shue that the 8th-notes are not played too dotted two bars before letter G. Almost even 8th-notes accentuated on the start of the slur is a good tip.Watch the balance at letter H. This part have to sound homogeniously.The soloistic Soprano Cornet at letter Q must be played in the style of Benny Goodan. The accompaniment must not be too powerful from letter R to S. Best of luck with the performance!
Estimated dispatch 7-14 working days
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£79.00
Every Breath You Take - Gordon Matthew Sumner - Idar Torskangerpoll
The great hit from 1983 by English band Police has moods and colours that is immediately recognized. In the band arrangement it is much the same, but with the added timbres and carpets of sound typical for wind players. Please pay attention to balance throughout the piece. You may also use this piece To improve the sound, balance and intonation in your band.
Estimated dispatch 7-14 working days
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£24.95The Pilgrim's Prayer (Brass Band - Score and Parts) - 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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£12.50
The 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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£57.00Rey's Theme from Star Wars Eposide VII: The Force Awakens - John Williams/Idar Torskangerpoll
The iconic soundtrack composed by John Williams continues with "The Force Awakens", the seventh Star Wars movie.This arrangement for Young Band tries to capture the rich timbre of the original orchestral music. It is very important to be aware of the balance in the band when performing this music. The horns should stand out dynamically when they plays the melody. Also make shure that the rhythmic are played as clear as possible, especially in the bass tubas and other low instruments. You may choose whether to play the upper or lower octave in the trumpet parts.
Estimated dispatch 10-14 working days
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