Searching for Wind Band Music? Visit the Wind Band Music Shop
We've found 114 matches for your search

Results

  • £27.50

    One Foot in the Grave - Eric Idle

    Eb Bass Solo with Brass BandI Don't Believe it!Yes 'AaA" that wonderful theme from One Foot in the Grave has been crying out to be arranged as a bass solo. Now it has 'AaA" an absolute winner with audiences.

    Estimated delivery 12-14 days
  • £28.95

    BASS IN THE BALLROOM (Bass/Brass Band) - Newsome, Roy

    Duration 4:40

    Estimated delivery 12-14 days
  • £27.50

    One Foot in the Grave - Idle, E - Barry, D

    I Don’t Believe it!Yes – that wonderful theme from One Foot in the Grave has been crying out to be arranged as a bass solo. Now it has – an absolute winner with audiences.4th section +

    Estimated delivery 3-5 days

     PDF View Music

  • £46.20

    Finale from Orpheus in the Underworld - Jacques Offenbach

    This series is for Brass Bands with a reduced number of playersThis series is without Repiano, 2nd Horn in Eb and 2nd TromboneParts included for:1 Eb Soprano Cornet5 Solo Bb Cornet3 2nd Bb Cornet2 3rd Bb Cornet1 Bb Flugel Horn1 Solo Eb Horn2 1st Eb Horn1 1st Bb Baritone2 2nd Bb Baritone (2nd Bb Trombone)1 1st Bb Trombone1 Bass Trombone2 Bb Euphonium2 Eb Bass2 Bb Bass1 Timpani2 Percussion/Drum SetOptional parts also included for:1 1st Trombone BC1 2nd Trombone BC1 Bass Trombone TC

    Estimated delivery 12-14 days
  • £22.00

    Rocked in the Cradle

    Eb Bass Solo with Brass Band

    Estimated delivery 12-14 days
  • £70.00 £70.00
    Buy from Superbrass

    Bass Trombone Concerto

    Written in 2006 for Roger Argente, Gareth Wood brings his considerable experience of writing for brass, and brass bands in particular, to an instrument not often blessed with opportunities for solo exposure. It is scored for soloist accompanied by traditional brass band line-up, including timpani and two percussion, and follows the standard three-movement pattern. In the first movement, the soloist launches straight into the musical argument with a low-lying repeated quaver figure punctuated by the band. A lyrical second subject in the high register is also entrusted to the soloist, and the movement comes to a thrilling conclusion. The slow movement opens softly with the percussion, and a mournful bass line sets the mood for a thoughtful long melody. It reaches a powerful climax, which subsides to a return of the opening mood. In the march-like finale, the soloist is pitted against a number of solo instruments from the band and a driving ostinato carries the momentum through to the blazing ending.Duration: 13:00 minutesPercussion: 3 Players playing timpani, bongos, bass drum, side drum, suspended cymbal, tam-tam, claves, triangle, tambourine, xylophone and glockenspielGrade 4: Moderately Difficult 1st Section Bands

  • £25.00

    The Cistercians

    DescriptionThe Cistercianswas written during December 2003 and January 2004 as an entry for Morecambe Band's Centenary New Music Competition, which it went on to win. The first two performances were at the final of this competition, part of the band's 100th Anniversary Concert at The Dome in Morecambe on 9 July 2004.The music was inspired by visits to three of Britain's great Cistercian Abbeys; Valle Crucis, Fountains and Rievaulx. The Cistercian Order was founded at Citeaux in France in the 11th Century and was based on the principles of austerity, humility and piety. Cistercian Abbeys were deliberately sited in remote, difficult areas. Despite this many of them, especially Rievaulx, became immense centres of commerce and power, with ever more complex administration and hierarchies.In a way the music reflects this; all the material in the piece is derived from two simple motifs played by flugel and solo horn in the opening bars and becomes more complex and further removed from the original material as the piece develops. After a tranquil opening section a fugal chorale develops over a medieval-style "tenor" - a stretched out version of one of the original motifs. A burst of semiquavers leads into a faster, folk-dance type section - our medieval abbey has become a bustling trade centre - before rhythmic quaver pulses in the horns and cornets accompany powerful chords in the low brass; this is another "tenor" derived from the opening motifs. A short development section, including the folk dance "hocketing" round the band and a slightly disjointed 10/8 section leads to a restatement of the fugal chorale from the beginning before a frenetic coda brings the work to a triumphant conclusion.Performance Notes:Percussion instruments required are Bass Drum, Suspended Crash Cymbal, Glockenspiel, 2 x Tom-toms, Snare Drum, Tambourine, Tam-Tam, 2 x Timpani (G-C, C-F), Triangle, Wood Block. All cornets will require metal stratight mutes and all except soprano require cup mutes. All trombones require cup and metal straight mutes.Playable by 2nd section upwards; to view a sample PDF file of the score click here.

     PDF View Music

  • £25.00

    The Trumpet Shall Sound - George Frideric Handel - Phillip Littlemore

    Along with the Hallelujah Chorus, the bass aria (and mini trumpet concerto) The Trumpet Shall Sound is one of the most recognisable movements from Handel’s Messiah , which was composed in 1741 and received it’s premi?re in Dublin a year later. Written in three parts, the The Trumpet Shall Sound appears in the middle of the third and final part. The aria is rarely performed ‘live’ with the full repeat, as it is a particuarly taxing part for the trumpet player. However, in this arrangement, the extended middle section is intact and can therefore be played at the trumpet soloists discretion! Item Code: TPBB-051 Duration: 10'30" (4'20" playing the first section only) Also available from Messiah: TPBB-029 ?And The Glory, The Glory Of The Lord TPBB-028 ?Hallelujah Chorus

  • £25.00 £25.00
    Buy from Wobbleco Music

    The Giddy Goat - Traditional Swiss - Daniel von Siebenthal

    The Giddy Goat is a silly folk song that everyone knows in Switzerland. It is about a white goat that does not want to get milked, so she kicks the milker. Thinking that this is because the goat is white, the owner decides that he will buy a brown one instead. From there on, people make up their own verses in which the goat is often replaced with past loves, enemies, and anyone or anything worthy of ridicule. Daniel, the arranger, lives in Gstaad in the Saanen district and the "Saanen goat" is a breed of white goat known throughout the world. As a farm boy, he did his share of goat milking and received the occasional hoof under his chin for his trouble. So, this piece is a tribute to a local breed that became world-famous, especially in America where the tune also meets its counterpart Billy Grogan's Goat (a similar silly song). The Giddy Goat should always be played as a "silly song" reflecting the goat's nature; capricious and cantankerous. The low bass line is important in Swiss folk music and should approximate to a plucked string-bass whose strings are dampened, to give it a pulsating feel. For those who would like to yodel we include the following Swiss tongue twister:- Holeduli duliduli, holeduli duli duli duuli, Holeduli duliduli, holeduli duli duli duu

  • £74.95

    The Torchbearer - Peter Graham

    The Torchbearer was commissioned by Kapitol Promotions and the Federation of Australasian Brass Bands as the test piece for the 2009 National Brass Band Championships of Great Britain and the FABB Open Contest respectively. The commission was initiated by the Federation's Music Advisor, Professor David King, whose support and encouragement for the idea of a piece commemorating the 20th anniversary of Eric Ball's death is greatly appreciated.The variations are based upon the first phrase of the trio from Eric Ball's Salvation Army march, Torchbearers. After opening statements of the theme, variation 1 (an energetic allegro brillante utilising fragment A) commences at bar 35. Cadenza passages for Eb Bass and Euphonium lead to variation 2 (an andante appassionato based upon fragment B) at 104. Variation 3 (142 - a vivace featuring C as an ostinato) is followed at 205 by variation 4, the central andante e sciolto molto for solo cornet (utilising D1 as a counterpoint and D2 as a 2nd phrase).The work culminates at bar 291 in a reprise of the cornet solo, now fully metamorphosised and mirroring in music a concept at the centre of Ball's broader philosophy, that of transformation.I have endeavoured to retain the main compositional characteristics and harmonic flavour of Eric Ball's Salvation Army and contest music. His scoring techniques are a model for any student of the medium and whilst I have aimed for similar colours and clarity of line in texture, concessions have been made in the instrumentation of the 21st century brass band. A slightly more developed percussion section is utilised employing timpani and xylophone in dominant roles.Eric Ball will be remembered as a composer whose classic works for brass shine through with integrity and sincerity. I have been no less sincere in my efforts to pay musical tribute to the 20th century's most influential composer of brass band music.

    Estimated delivery 12-14 days