Results
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£119.99
Chain - Piet Swerts
Chain was composed between June and August 2000 as the test piece for the 2002 European Brass Band Championship. The composer's idea was to compose a one-movement piece - a work that starts mysteriously and develops in various directions. As his basic material, he chose a figure that is the abbreviation of the European Brass Band Championship: EBBC. This figure is developed in a chain of figures which gradually lead to the climax of the piece.
Estimated dispatch 5-14 working days
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£104.99Parnassus - Jan Van der Roost
Since most of the bands competing in the 4th Section of the Dutch National Championships have many young players, this piece is stylistically youthful-- especially in the opening and closing sections. An arpeggio pattern appears numerous times in all registers and is the basic musical element of the main melody, alternating with a second theme that has a slightly different melodic character. The middle section is conceived like a chorale, introduced and developed stepwise: firstly with short patterns and gradually in increasingly long snippets, until it's played in its glorious entirety at measure 216. No real solo passages are included but rather small chambercombinations, thus offering the opportunity to various players to display their technical and performance skills. The finale recaptures musical material from the first section of the piece and provides a majestic conclusion.
Estimated dispatch 5-14 working days
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£56.90Balkan Gipsies - Paul Voet
Gipsies are wizards with the fiddle. Eastern European folk musicians and gipsies are using a lot of brass in their music. Their brass ensembles are very impressive, so the link to brassbands is quickly made. Based on the folk theme of Manea Tsigailor all cornets join the theme in an up tempo 7/8 bar. Gathered around a campfire gipsies are telling stories and making music. When the lower brass is telling their story all others clap hands. All of a sudden a cornet soloist appears. When we return to the basic theme the story ends with some dazzling bars.
Estimated dispatch 5-14 working days
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£29.95March: The Royal Green Jackets - Jonathan Bates
DURATION: 3'00". DIFFICULTY: 3rd+. 'The Royal Green Jackets' is a march composed for BD1 Brass as part of a set of music inspired by the British astronaut Tim Peake. . Following his graduation from the Royal Military Academy in Sandhurst in 1992, Peake became a member of the Royal Green Jackets - a former infantry regiment of the British Army, later to become The Rifles - serving as a Platoon Commander before commencing his flight training. 2 years later in 1994, Peake received his Army Flying Wings and spent 15 years serving in military operations in the likes of Yugoslavia and Afganistan. . In 2009, Peake was selected as a European Space Agency astronaut and completed his basic training in November 2010.
In Stock: Estimated dispatch 1-3 working days
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£58.00Balkan Gipsies - Paul Voet
Gipsies are wizards with the fiddle. Eastern European folk musicians and gipsies are using a lot of brass in their music. Their brass ensembles are very impressive, so the link to brassbands is quickly made. Based on the folk theme of Manea Tsigailor all cornets join the theme in an up tempo 7/8 bar. Gathered around a campfire gipsies are telling stories and making music. When the lower brass is telling their story all others clap hands. All of a sudden a cornet soloist appears. When we return to the basic theme the story ends with some dazzling bars.
Estimated dispatch 10-14 working days
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Le Canal En Octobre - Frederic Paris - Len Jenkins
The tune that forms the basis of this arrangement for brass band was recommended to us by a good friend who plays concertina and melodeon in the traditional English Folk genre. Its delightfully simple melody is based on a French Schottische composed by Frederic Paris and is frequently played at folk music sessions where it is instantly recognised and internationally known. As a folk tune used for dancing, the piece would consist of Tune A and Tune B which would each be repeated several times in succession. In this arrangement for brass, that basic order of the melodies has been varied, and includes a brief foray into a minor key to maintain audience interest. It is not a difficult piece and should be within the capabilities of a fourth section band. However, it is recognised that not every brass band possesses a Marimba, and that part can be played on a Glockenspiel, with appropriate adjustment to fit the available range of the instrument.
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£52.00Stories for Saroyan - Elgar Howarth
Stories for Saroyan was written for Robert Childs and has also been performed to great acclaim by his son David Childs. A concerto of stature, graced with the composer's hallmark scoring, intense passion, and enigma! The Saroyan of the title is the American author William Saroyan whose tales inspired the composition. Saroyan, who one the Pulitzer Prize and turned it down, became known for loosly structured, impressionistic plays and stories stressing his belief in people's basic innocence. Elgar Howarth has set the standard of modern brass arranging, and his original works feature largely in the Winwood Music catalogue
Estimated dispatch 7-9 working days
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£64.00Stories for Saroyan (Parts only) - Elgar Howarth
Stories for Saroyan was written for Robert Childs and has also been performed to great acclaim by his son David Childs. A concerto of stature, graced with the composer's hallmark scoring, intense passion, and enigma! The Saroyan of the title is the American author William Saroyan whose tales inspired the composition. Saroyan, who one the Pulitzer Prize and turned it down, became known for loosly structured, impressionistic plays and stories stressing his belief in people's basic innocence. Elgar Howarth has set the standard of modern brass arranging, and his original works feature largely in the Winwood Music catalogue
Estimated dispatch 7-9 working days
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£62.00Montage (Score only) - Peter Graham
Each of the movements of the symphony take as their starting point forms originating in music of the 16th and 17th centuries. The first, an intrada, introduces the main thematic material (based on the interval of a minor third) in its embryonic state. As the piece progresses, this material is developed and manipulated in a variety of ways. The interval of the third remains central to the overall scheme of the work, even unifying the three movements on a tonal plane (I: F (minor); II: A flat (major); III: C flat (minor). The internal structure of the intrada is an arch form: ABCBA, roughly modelled on the first movement of Concerto for Orchestra by Witold Lutoslawski, to whose memory the movement is dedicated. A chaconne follows - the basic material now transformed into expansive solo lines underpinned by a recurring sequence of five chords (again, a third apart). The movement's structure combines both ternary form and golden section principles and the chaconne's continuous cycle of chords may be visualised as circles. The final movement, a rondo, bears the dramatic weight of the entire work, as the underlying tonal tensions surface. A musical journey ensues, making diversions through lyrical territories as well as through more spiky, jazz-flavoured ones. The aural (and visual) montage is perhaps most apparent towards the climax of the piece, where three keys and polyrhythms sound simultaneously in the upper brass, xylophone, horns, and timpani. The climax itself combines the lyrical music heard earlier with the rondo theme, now presented by cornets and trombones in canon. The teleological thrust of the movement (if not the entire work) can be symbolized by the flight of an arrow, as it steers a predetermined course towards its target. Duration: 16:00
Estimated dispatch 7-9 working days
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£74.00Montage (Parts only) - Peter Graham
Each of the movements of the symphony take as their starting point forms originating in music of the 16th and 17th centuries. The first, an intrada, introduces the main thematic material (based on the interval of a minor third) in its embryonic state. As the piece progresses, this material is developed and manipulated in a variety of ways. The interval of the third remains central to the overall scheme of the work, even unifying the three movements on a tonal plane (I: F (minor); II: A flat (major); III: C flat (minor). The internal structure of the intrada is an arch form: ABCBA, roughly modelled on the first movement of Concerto for Orchestra by Witold Lutoslawski, to whose memory the movement is dedicated. A chaconne follows - the basic material now transformed into expansive solo lines underpinned by a recurring sequence of five chords (again, a third apart). The movement's structure combines both ternary form and golden section principles and the chaconne's continuous cycle of chords may be visualised as circles. The final movement, a rondo, bears the dramatic weight of the entire work, as the underlying tonal tensions surface. A musical journey ensues, making diversions through lyrical territories as well as through more spiky, jazz-flavoured ones. The aural (and visual) montage is perhaps most apparent towards the climax of the piece, where three keys and polyrhythms sound simultaneously in the upper brass, xylophone, horns, and timpani. The climax itself combines the lyrical music heard earlier with the rondo theme, now presented by cornets and trombones in canon. The teleological thrust of the movement (if not the entire work) can be symbolized by the flight of an arrow, as it steers a predetermined course towards its target. Duration: 16:00
Estimated dispatch 7-9 working days
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