Results
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£12.50Lloyd (Brass Band - Score only) - Howard, Cuthbert - Coles, Bramwell
The first presentation of the theme can be used for the purpose of accompanying congregational singing. At Section A the second presentation of the tune appears in the key of the dominant, the melody being given throughout to Solo Horn, with First Horn, First Trombone, Soprano and Flugel reinforcing the melody in the various phrases. Incidentally, see that the players do not break these phrases; it should be possible to take the four bars in one breath quite easily. Take due care of the light and shade which should be delicately applied. In the last bar the music gathers strength as we pass back into the original key for the last verse; pay particular attention to the part allotted to Second Baritone and Euphonium which needs to be slightly stressed. For the last appearance of the tune at Section B the full Band is used, apart from the third phrase which is given solo by Solo Comet with a light accompaniment above a bass pedal. Notice the rit. operating from the end of the eleventh bar and also the short swell effect on the fourth beat of the fourteenth bar.
Estimated dispatch 7-14 working days
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£20.00African Dawn - Steve Robson
This piece embraces the sounds and imagery of a tribal group out singing on a remote hill top, where individuals sing out a 2 bar phrase and the remainder of their group sing a response. African Dawn brings this vision to life by giving the opportunity for the musicians playing the original "Chant" or "Call" to be positioned as soloists, or just stand up within the main group.There is also the opportunity for lots of percussion to be spread throughout the band and divided into groups, or even groups of people clapping the separate rhythms to bring forth the African atmosphere.African Dawn is part of the Flexi-Collection - World Tour Series.Our Flexi-Collection Series:Flexible scoring tailored to your needs - a perfect solution for expanding the repertoire of Junior/Youth brass bands and ensembles. The Flexi-Collection currently offers two series and these will be regularly expanded to offer groups an even wider variation of music. Based on four-part harmony, these collections provide brass groups with the advantage of complete flexibility when may not be balanced.Added Extras:Each part of The World Tour Series also includes rudimentary theory reference sheet andLearn Together Moments(warm-up passages which relate to each of the styles of pieces included in the whole series). The score also includes background/programme notes andCheck It Outideas to encourage the players to find out more about the music style and/or inspiration behind the piece.If players or instruments are missing, the show can still go on! The thoughtful scoring and arranging by Steve Robson now means that groups of all abilities have access to a truly flexible set of music for their needs.Available for Brass Band (with world parts included), pieces included in our World Tour Series offer flexibility in every sense of the word.(Available individually or as part of the completeFlexi-Collection World Tour Series Album).
In Stock: Estimated dispatch 3-5 working days
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£30.00Janacek's 'Taras Bulba' - Janacek
Comments from Tim Paton, the arranger of Janacek's 'Taras Bulba': "I will never forget the day in 1967 when I was introduced to the music of Leos Janacek, a Czech composer born in 1854, who died in 1928. Janacek was little known in Britain until the 1960's, when the conductor Charles Macherras introduced his unique music. I heard a recording of Macherras conducting the Pro Arte Orchestra in a performance of Janacek's "Sinfonietta".It was in 1969 that I first heard Janacek's Symphonic Rhapsody, "Taras Bulba".Janacek's music is exciting, powerful, emotive, impassioned and unpredictable.I have taken the first and third movements of this piece, and adapted them for Brass Band, which was at times extremely difficult, but rewarding. It sometimes took up to an hour to be satisfied that a mere several bars had been reproduced to convey the composer's intentions.The Death of AndriThe Cossaks, under the leadership of Taras Bulba, are fighting against the Poles in the 17th century. Taras's son Andri seeks to rescue his love, a Polish princess, from a city which is being besieged by the Cossaks. Having found her, he throws in his lot with the Poles, but is finally captured by his father, who executes him as a traitor before riding off again to battle.Prophesy and Death of Taras BulbaTaras himself is finally captured and condemned to be nailed to a tree and burned alive. As the flames creep around him, Taras has the satisfaction of seeing histroops escape, and as he dies, sees a vision of his country freed at last.This is incredibly descriptive music. The mood is constantly changing, creating feelings of love and anger, celebration and melancholy, despair and triumph.This Brass Band EditionThe duration of the original symphonic rhapsody, three movements, is approximately 23 minutes. I chose the first and third movements, so the Brass Band edition is approximately 14 minutes. The main reason is twofold: Being realistic about the demands this music would place on the stamina of the brass player; Keeping the piece less than 15 minutes, so that, if desired, it could be used on the contest platform.Two unique qualities of Janacek's music had to be taken into account when preparing this brass band version. His compositional technique was individual, at times not sticking to traditional expectations, in both form and orchestration. I imagined what the genius himself would have said looking at my work, and how to tackle a particular section to emulate his original intentions. This was particularly the case when dealing with high woodwind and violin parts, the use of tremolo in string parts, and the orchestral harp.Percussion: Janacek included timpani, side drum, cymbals, triangle and tubular bells. For reasons stated previously, I have also included xylophone and glockenspiel. I have also added the gong in a couple of places to enhance the dramatic effect of the music.
In Stock: Estimated dispatch 3-5 working days
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£15.00Jupiter from the Planet Suite - Holst
Programme notes:The hauntingly beautiful theme from Jupiter, from The Planets Suite has a rare qualityexpressing both optimism and dignity which makes it a popular choice for many formalpublic events such as opening and award ceremonies.The tune is originally found in the Jupiter movement from the large-scale work fororchestra called 'The Planets Suite'. Written by the English composer Gustav Holt ThePlanets Suite is thought to be his finest work.The theme has a steady 3/4 rhythm which provides a contrast in terms of tempo andmeter to the rest of the movement, and has been made popular as a patriotic song called'I vow to Thee My Country'.Performance notes:This arrangement makes use of a gradual increase in dynamics, beginning p and ending ff.With this gradual increase in dynamics is a gradual increase in the scoring starting offwith only the lower instruments playing p and ending up with everyone playing ff.The percussion part is very minimal in this arrangement (only 2 notes for the suspendedcymbal) and is an optional part.Just before the final chord there is a cut off marked in the parts. This may be a newconcept for some inexperienced players so it should be fully explained by the conductor.The Flexi-Collection ApproachFlexible scoring tailored to your needs - A perfect solution for expanding the repertoire of training and junior brass bands. The Flexi-Collection currently offers two series - Popular Classics and World Tour. Based on four-part harmony, these collections provide groups with the advantage of complete flexibility when they may not be balanced. If players or instruments are missing, the show can still go on!The Flexi-Collection - Popular Classics Series, encapsulates all that is great about the wonderful range of musical styles produced by Holst, Elgar, Handel, Verdi, Tchaikovsky, Grieg, Bizet and Parry.The thoughtful scoring and arranging by Andrew Duncan now means that groups of all abilities have access to a truly flexible set of music for their needs. With world parts, rudimentary theory, terminology translations and large format typesetting, The Flexi-Collection ticks all the boxes when it comes to bringing interesting music to the training and junior band/brass group environment.Available individually or as part of the money-saving Flexi-Collection Popular ClassicsAlbum.Scored for Brass Band and supplied with additional Easy Bb, Easy Eb and world parts - The Flexi-Collection offers flexibility in every sense of the word.
In Stock: Estimated dispatch 3-5 working days
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£20.00What's The Matter Horn? - Steve Robson
Composed by Steve Robson and scored specifically for our Flexi-Collection World Tour Series. Steve has been inspired by fond memories of hearing Alpine Bands and seeing knee slapping dancers performing in Switzerland for this piece. It starts with some off-stage calls (which could even be from an Alpine Horn if one is available), and moves into a lively dance section, ending with a little yodeling! There are various ways to convey the yodeling through instruments, but a bit of vocal yodel practice could be a novel new addition to the band's warm-up routine!Our Flexi-Collection Series:Flexible scoring tailored to your needs - a perfect solution for expanding the repertoire of Junior/Youth brass bands and ensembles. The Flexi-Collection currently offers two series and these will be regularly expanded to offer groups an even wider variation of music. Based on four-part harmony, these collections provide brass groups with the advantage of complete flexibility when may not be balanced.Added Extras:Each part of The World Tour Series also includes rudimentary theory reference sheet andLearn Together Moments(warm-up passages which relate to each of the styles of pieces included in the whole series). The score also includes background/programme notes andCheck It Outideas to encourage the players to find out more about the music style and/or inspiration behind the piece.If players or instruments are missing, the show can still go on! The thoughtful scoring and arranging by Steve Robson now means that groups of all abilities have access to a truly flexible set of music for their needs.Available for Brass Band (with world parts included), pieces included in our World Tour Series offer flexibility in every sense of the word.(Available individually or as part of the completeFlexi-Collection World Tour Series Album).
In Stock: Estimated dispatch 3-5 working days
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£69.95Judd: Dance Music
The music takes the form of a suite in four movements. The ever-changing spirit of the dance is reflected in the contrasting styles of each movement, ranging from the gentle lullaby to more boisterous and lively moods. Careful listeners will be able to identify references to dance-associated tunes in each movement, concluding with the much-loved Christmas carol, Tomorrow shall be my dancing day. The music is planned to be versatile, and any one movement could be performed as a stand-alone item if required.
Estimated dispatch 7-14 working days
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£34.95Tribute Music (Brass Band - Score and Parts)
The composer writes: Having received delightful reports about Neil Ferguson from his colleagues in Granite City Brass, I thought it might be a good idea to incorporate the musical initials from his name, EFEG, in the opening idea of the music. I used this short idea as a motif during the piece. A recurring comment in the tributes referred to his dry sense of humour, and particularly his ability to deliver a one-liner when least expected. The music does therefore contain a few surprises and sudden changes of direction. I also thought that it might be in character for me to include a little "joke" of my own, which is there to be heard by the very careful listener! Such listeners would do well to remember that the Granite City Brass, the commissioning band, is based in Aberdeen. The idea of commemorating such a faithful member of the band with a piece of music led me to try and write a noble, upright theme, which might be remembered as a melody in the future. I hope that it is a fitting tribute.
Estimated dispatch 7-14 working days
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£99.95Malcolm Arnold Variations (Score and Parts)
MALCOLM ARNOLD VARIATIONS was commissioned by Philip Biggs and Richard Franklin for the 20th All England Masters International Brass Band Championship held in the Corn Exchange, Cambridge on 25 May 2008. The work is dedicated to Anthony Day, long time carer of Sir Malcolm Arnold in his final years. I first met Malcolm and Anthony in 1990 and remained in constant touch until Malcolm's passing in 2006. Anthony, of course, remains a friend and plays his own role subliminally in this piece. The work is not based on any of Malcolm Arnold's own themes, rather it is a portrait of him (and by association Anthony Day) through my eyes and as a result of my friendship with both parties over some 18 years. If there is any theme as such it is the personalities of the players, the protagonist and his carer placed together by my own efforts coloured and influenced by aspects of Arnold's style and technique without recourse to direct quotation but through allusion and parody. It is of course designed as a brass band test piece but in my eyes is first and foremost a musical challenge. The pyrotechnical elements are there but always secondary to the musical thrust of the work's structure. I have long beforehand submerged myself in Malcolm Arnold's music and ultimately delivered this tribute. Music Directors will be advised to acquaint themselves with the composer's personal music, particularly the film scores, symphonies, concertos and ballets: the solutions towards a successful interpretation of my piece are all in there - and YES, I want, and sanction, this piece to be interpreted, and therein lies the challenge for those of you 'up front'! The challenge for players is that of virtuosity, ensemble and careful attention to where they are individually in relation to their colleagues - a question of balance, taste and insight. With regard to tempi, as is my usual custom, I have indicated all metronome marks with the prefix circa. I would suggest that the fast music is played at these tempos but that the more rubato moments can be allowed some freedom in expression and fluidity of line. With regard to the type of mutes to be employed - this decision I leave to the discretion of players and conductors. Structurally the work is cast as an Introduction, 20 Variations and a Finale. Some variations are self contained, others run into each other as sequences in the same tempo. In other variations, segments are repeated and developed. I could describe the overall concept as a miniature ballet or a condensed film score - there is much drama and character and the repeated elements assist this in driving the action forward. I have deliberately avoided the more extremely dark qualities of Malcolm's own music in this, my celebration of this master-composer, as I have always viewed (and evidenced by my previous Masters scores Tristan Encounters and Chivalry) that the Cambridge contest is a 'sunshine- affair' and firmly believe that Malcolm Arnold would have had it no other way too!
Estimated dispatch 7-14 working days
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£49.95Malcolm Arnold Variations (Score Only)
MALCOLM ARNOLD VARIATIONS was commissioned by Philip Biggs and Richard Franklin for the 20th All England Masters International Brass Band Championship held in the Corn Exchange, Cambridge on 25 May 2008. The work is dedicated to Anthony Day, long time carer of Sir Malcolm Arnold in his final years. I first met Malcolm and Anthony in 1990 and remained in constant touch until Malcolm's passing in 2006. Anthony, of course, remains a friend and plays his own role subliminally in this piece. The work is not based on any of Malcolm Arnold's own themes, rather it is a portrait of him (and by association Anthony Day) through my eyes and as a result of my friendship with both parties over some 18 years. If there is any theme as such it is the personalities of the players, the protagonist and his carer placed together by my own efforts coloured and influenced by aspects of Arnold's style and technique without recourse to direct quotation but through allusion and parody. It is of course designed as a brass band test piece but in my eyes is first and foremost a musical challenge. The pyrotechnical elements are there but always secondary to the musical thrust of the work's structure. I have long beforehand submerged myself in Malcolm Arnold's music and ultimately delivered this tribute. Music Directors will be advised to acquaint themselves with the composer's personal music, particularly the film scores, symphonies, concertos and ballets: the solutions towards a successful interpretation of my piece are all in there - and YES, I want, and sanction, this piece to be interpreted, and therein lies the challenge for those of you 'up front'! The challenge for players is that of virtuosity, ensemble and careful attention to where they are individually in relation to their colleagues - a question of balance, taste and insight. With regard to tempi, as is my usual custom, I have indicated all metronome marks with the prefix circa. I would suggest that the fast music is played at these tempos but that the more rubato moments can be allowed some freedom in expression and fluidity of line. With regard to the type of mutes to be employed - this decision I leave to the discretion of players and conductors. Structurally the work is cast as an Introduction, 20 Variations and a Finale. Some variations are self contained, others run into each other as sequences in the same tempo. In other variations, segments are repeated and developed. I could describe the overall concept as a miniature ballet or a condensed film score - there is much drama and character and the repeated elements assist this in driving the action forward. I have deliberately avoided the more extremely dark qualities of Malcolm's own music in this, my celebration of this master-composer, as I have always viewed (and evidenced by my previous Masters scores Tristan Encounters and Chivalry) that the Cambridge contest is a 'sunshine- affair' and firmly believe that Malcolm Arnold would have had it no other way too!
Estimated dispatch 7-14 working days
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£59.95Bonnie Northumbria - Brass Band - LM786
COMPOSER: Laurie JohnstonProgramme NotesNorthumberland, or Northumbria as it is also known, is the most northern county in England and has magnificent and stunning landscapes just waiting to be explored. Filled with mystical castles, atmospheric ruins and historical sites and edged by spectacular coastal scenery, there is something wonderful to see at every turn. The Devils Causeway passes through Northumbria and reaches Berwick upon Tweed at the coast. Walkers and cyclists can also take the Coast and Castles Cycle Route or the North Sea Trail which journey through some of the most beautiful scenery along the way.The Blaydon Races is aGeordiefolk songwritten in the 19th century byGeordie Ridley, in a style deriving frommusic hall. It is regarded by many as the unofficialanthemofTynesideand is frequentlysungby supporters ofNewcastle United Football ClubandNewcastle Falconsrugby club.Blaydonis a small town inGateshead, situated about 4 miles (6.4km) fromNewcastle upon Tyne, inNorth East England. The race used to take place on the Stella Haugh 1 mile (1.6km) west of Blaydon.Stella South Power Station(demolished in 1995) was built on the site of the track in the early 1950s, after the races had stopped taking place in 1916.Water of Tyne (sometimes rendered as The Waters of Tyne) is a folk song (Roud number1364) from the north-east of England. The song is sung by a girl or woman lamenting the fact that her paramour is on the opposite bank of theRiver Tyne. Sleeve notes to Michael Hunt's recording of Tyneside songs states that "the ferry is believed to be that atHaughton Castleon theNorth Tyne". Alternatively the "rough river" in the last line may indicate a point further downstream, possiblyTynemouth.The song was collected byJohn Bellin 1810 and published two years later inRhymes of Northern Bards.The Keel Row is a traditional Tyneside folk song evoking the life and work of thekeelmenofNewcastle upon Tyne. A closely related song was first published in aScottishcollection of the 1770s, but may be considerably older, and it is unclear whether the tune is Scottish or English in origin.The opening lines of the song set it inSandgate, that part of the quayside overlooking the River Tyne to the east of the city centre where the keelmen lived and which is still overlooked by theKeelmen's Hospital.Versions of the song appear in both England and Scotland, with Scottish versions referring tothe Canongaterather than Sandgate. The earliest printing was in the 1770s inEdinburghin A Collection of Favourite Scots Tunes, edited by Charles Maclean, though the tune was also found in several late eighteenth-century English manuscript collections. As the term "keel" was used both sides of the border, it has not been determined which version was the original, althoughFrank Kidsonsurmised that like many other songs collected by Maclean it may originally have been aJacobiteair from the time of the1745 rebellion. Some versions of the song make reference to a "blue bonnet[...] with a snowy rose upon it", a clear attempt to evoke Jacobite symbolism, whether dating from 1745 or not.Kidson, however, also noted that he had found the tune of The Keel Row associated with an early dance called "The Yorkshire Lad" as early as 1748.By the 19th century the tune was well associated with the River Tyne; a few years before the 1850s the keelmen had met yearly to celebrate the founding of the Keelmen's Hospital, perambulating the town to the accompaniment of bands playing The Keel Row.Dance To Thy Daddyis a traditional Englishfolksong, originating inNorth East England. An early source for the lyrics, Joseph Robson's "Songs of the bards of the Tyne", published 1849, can be found on the Farne archive. In Farne's notes to the song, it is stated that these lyrics were written by William Watson around 1826.
In Stock: Estimated dispatch 3-5 working days
