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£30.00Still, Still, Still (Horn Section Feature with Brass Band) arr. Stephen Tighe
Still, still, still is an Austrian Christmas carol and lullaby. The melody is a folk tune from the Salzburg area and the tune appeared for the first time in 1865 in a folksong collection. The words describe the peace of the infant Jesus and his mother as the baby is sung to sleep. They have changed slightly over the years, but the modern standard German version was established in the mid-19th century. This arrangement by Stephen Tighe features the flugelhorn and horn section with brass band. PDF download includes score and parts. Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Difficulty Level: 4th Section + 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 Timpani Sleigh Bells Drum Kit Glockenspiel
In Stock: Estimated dispatch 1-3 working days
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£45.00God Put a Smile Upon Your Face
ABOUT THIS PIECE: 'God Put a Smile Upon Your Face' was written by all members of the band Coldplay for their second studio album 'A Rush of Blood to the Head'. Coldplay vocalist Chris Martin said: "The song came out of playing live and wanting to have something with a bit more bounce". The chart was originally released in 2003 to critical acclaim. In 2007 Mark Ronson covered the song on his album 'Version' - it is this version this arrangement is based upon. The following arrangement was devised as a concert opener - written as such to allow different sections of the band to make their way to the stage one at a time. The suggested stage entry directions for this arrangement are: Percussion > Basses > Trombones > Horns & Baritones > Cornets & Euphonium. Kit and percussion parts are written as a guide - please feel free to add and subtract as the MD sees fit. DUE TO COPYRIGHT LAW THIS WORK IS NOT AVAILABLE IN AUSTRALIA OR NEW ZEALAND ENSEMBLE: Standard British Brass Band WHEN YOU BUY THIS PRODUCT, YOU GET: High-quality printed score and parts LEVEL: 2 LISTEN: Click here DURATION: 3-mins 30 secondEXAMPLE SCORE: Click here LEVEL GUIDE: Level 1- Accessible to all Level 2 - c. UK third section and higher Level 3 - c. UK second section and higher Level 4 - c. UK first section and higher Level 5 - c. UK championship section level
Estimated dispatch 5-7 working days
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£12.00Ave Maria
DescriptionJohann Sebastian Bach (1685 - 1750) was a German composer and musician of the Baroque period. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and over three hundred cantatas of which approximately two hundred survive. His music is revered for its technical command, artistic beauty, and intellectual depth. Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.Charles-Francois Gounod (1818 - 1893) was a French composer, best known for his Grand Operas, most famously 'Faust', written in 1859 and his 'St Cecilia Mass' written in 1854. However possibly his most performed work is his arrangement of the latin text Ave Maria based on a work by Bach.You can listen to a computer realisation of the score while following the music below:
Estimated dispatch 7-14 working days
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£104.99Sinfonietta No. 4 - Etienne Crausaz
This work was composed for the occasion of the 28. Fete Cantonale des Musiques Vaudoises (28th Music Festival of the Canton Vaud), taking place in the Valley of Joux in June 2018. The music begins with a very simple fanfare consisting of five ascending legato notes which constitute the fundamental framework of the piece. This contrasts with the more cantabile sounding theme we hear after. The following Allegro section uses the sequence in a contrapuntal style reminding us of the Renaissance period, but with more modern day harmonies. Two solo cadenzas played by cornet and euphonium initiate the middle section, in which a theme also based on the sequence builds uptowards the climax of the piece. The sequence in the last section is played in time but gives the feeling of a "one to the bar" beat. Shortly before the festive finale, the music heard in the middle part resumes.
Estimated dispatch 5-14 working days
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£149.40Viking Saga - Ray Farr
"Viking Saga" was inspired by my conducting engagements in Norway in the 1980s. Among them was a visit to the Flekkefjord Pike Korps who asked me to write a piece for them. I had just written "Adventures in Brass" which was very popular, particularly with younger bands, so I decided to pursue the creative energy. My teacher, at that time, was Professor Edward Gregson who encouraged me to develop my ideas into a full-scale work. The piece received a few performances in this version but neither I, nor my teacher, were satisfied so the manuscripts lay dormant. In the summer of 2002 a band from Switzerland- Cordula Brass Baden and Christoph Moor, who had played the piece under mydirection in the Swiss National Youth Band, commissioned me to finish the work and make the changes that, I felt, were needed. In 2016 the Tonsberg Wind Band, from Norway, commissioned a wind band version for their performance in the Norwegian Championships held in Trondheim 2017.
Estimated dispatch 5-14 working days
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£159.99Other Lives (Brass Band - Score and Parts) - Waespi, Oliver
Other Lives is works perfectly for a competition but can also be programmed as concert work. The dark chords at the beginning of the piece are derived from Der Doppelganger, one of Franz Schubert's late songs. After a short development the music begins to accelerate and find its own shape, gradually moving away from the introduction. The entire first part, Rage, has an intensely agitated character. The ensuing Reflection turns back to the initial chord progression, before a series of interspersing solos explore time and space at a slower pace. After another musical surge, the music is brought close to silence and then gives way to the third part, Redemption. Here, a widely spaced sound field contains a remote allusion to another work by Schubert, Ruckblick. After this farewell, an abstract musical transformation triggers an emotional change, as the initial motifs are now presented in their inversed form in order to create a much brighter harmonic landscape. Moreover, in the last part of the piece, Renewal, the grim, tense atmosphere of the first part is transformed into a great energy.Duration: 18.00
Estimated dispatch 7-14 working days
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£68.99Suite Symetrique (Brass Band - Score and Parts) - De Haan, Jacob - Haantjes, Menno
This playful three-part suite is largely based on symmetry. This of course is largely due to the relations of the arrangement of the themes; however, on the other hand, to the larger structures in form. The first part, (Prelude et Scherzo) has a solemn opening. Followed by it a related scherzo with many changes in time, this too is composed in a symmetrical form. In the second movement, Choral Dorian, the theme of the prelude is reversed and used in chorale in Dorian tonality. The suite comes to a close with Rondo d'Avignon. An annual theatre festival in a French city on the Rhone inspired this suite. It is a lively movement, symmetrically bought to a finish with a repeat of the prelude from the first movement.Duration: 5:15
Estimated dispatch 7-14 working days
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£59.95Essay (Brass Band - Score and Parts) - Gregson, Edward
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, Dialogue takes the form of 'conversations' between the instruments, based on the opening melody announced in unison on cornets and euphoniums. A second theme is introduced on the flugel horn and developed alongside this, creating a sonata form shell.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 movement is poignant in mood, which is depicted by a cornet solo announced after a brief introduction. The middle section builds to a powerful climax, at which point the opening theme of the first movement is heard again. Tranquillity returns however, with a solo trombone now playing the original theme with other instruments adding decorative accompanying patterns.The final movement, Epigram, creates strong rhythmic contrasts and exploits the more virtuoso character of the brass band. The middle section, with its changing time patterns and open expansive melody, suggests a 'big-country' style. A rhythmically charged coda concludes the work in exciting fashion.Duration: 12.00
Estimated dispatch 7-14 working days
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£29.95
Essay (Brass Band - Score only) - Gregson, Edward
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, Dialogue takes the form of 'conversations' between the instruments, based on the opening melody announced in unison on cornets and euphoniums. A second theme is introduced on the flugel horn and developed alongside this, creating a sonata form shell.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 movement is poignant in mood, which is depicted by a cornet solo announced after a brief introduction. The middle section builds to a powerful climax, at which point the opening theme of the first movement is heard again. Tranquillity returns however, with a solo trombone now playing the original theme with other instruments adding decorative accompanying patterns.The final movement, Epigram, creates strong rhythmic contrasts and exploits the more virtuoso character of the brass band. The middle section, with its changing time patterns and open expansive melody, suggests a 'big-country' style. A rhythmically charged coda concludes the work in exciting fashion.Duration: 12.00
Estimated dispatch 7-14 working days
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£30.00O.B.1. Fanfare - Tom Watson
Tom Watson was born into a musical family in Hertfordshire, England and showed a flare for playing the trumpet from the age of just 4. Taught by his father James Watson, the prolific international soloist, conductor, educator and session trumpeter, Tom studied at the Royal Academy of Music, where he gained a first class honours degree. Whilst still at college, Tom embarked on a varied professional freelance-playing career and was guest principal trumpet with the Mahler Chamber Orchestra performing under Claudio Abbado, Daniel Harding, and Sir Neville Marriner. Tom can be regularly found performing and recording with the London Symphony Orchestra, The BBC National Orchestra of Wales and many of the UK's finest orchestras. Commercially, Tom has played in sessions or concerts for artists such as Sir Elton John, Sir Paul McCartney, Sir Tom Jones, Dame Shirley Bassey, Ozzy Osbourne, Phil Collins, Eric Clapton, Joe Cocker, Jarvis Cocker, Pete Doherty, Nick Cave, Karl Jenkins and Victoria Wood. Some of his film session work has included recording the scores for Brave, Eragon and Stormbreaker. Tom also works as a musical director, arranging and conducting various projects such as Tony Christie's album Made in Sheffield and for renowned harpist Catrin Finch. Tom also runs his own independent recording and production company Pro Audio, part of Prozone Music, which Tom owns and runs alongside his brother William. The O.B.1. Fanfare was written for the Harper Ensemble, a brass ensemble comprising of Tom's contemporaries from his time at the Royal Academy of Music. It was written for the Leicester Square UK premiere of the film "Ali" starring Will Smith. Composed as a salute to Hollywood and the big screen, this fine pastiche of film scoring is an ideal fanfare and concert opener.
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