Results
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£85.00Concertante (Piano Solo with Brass Band - Score and Parts) - Gregson, Edward
This work was written in 1966, when I was a student at the Royal Academy of Music in London. It was the first major work to be written for this combination. The Concertante is unashamedly romantic in idiom and is cast in three movements: Prelude, Nocturne and Rondo.The Prelude is in sonata form with a contracted recapitulation. There are two main themes, the first announced after the opening flourish on piano. The second theme is lyrical in character and the interplay between these two themes forms the main focus of the movement.The pensive Nocturne opens with an introduction from the band which contains hints of the two main ideas to follow. The solo piano announces the main theme, which has a slightly 'blues' character in its flattened third and seventh notes of the scale. The band enters with the chorale theme already heard in the introduction. Eventually the first theme returns, this time from piano and band and building to a powerful climax before subsiding to a peaceful ending.The Rondo is full of energetic rhythms and changing time patterns. The main theme is 'giocoso' in character and in the first episode there is more than a hint of the tune 'Onward Christian Soldiers' in what amounts to a good humoured parody. Before the final coda there is a long piano cadenza underlying the virtuoso element of the work.The work had a number of public performances leading up to a memorable one in the Royal Albert Hall in 1989 as part of the Gala Concert that used to be held after the National Brass Band Championship in the Royal Albert Hall. That year, the 'centre band' in the massed bands concert were the GUS Band (then known for sponsorship reasons as 'Rigid Containers Group Band'!) conducted by my great friend and champion, Bramwell Tovey, with myself as the soloist.- Edward GregsonDuration: 18.00
Estimated dispatch 7-14 working days
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£89.99Ross Roy (Brass Band - Score and Parts) - De Haan, Jacob
In this composition, Jacob de Haan sees the "Ross Roy" as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of "Tempo di Marcia". This movement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of "passing through" the classes up to the final examinations.Then, the Ross Roy theme is dealt with again, now in a playful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the "overture" to the rest of one's life.Duration: 9:20
Estimated dispatch 7-14 working days
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£45.00Symphony No.1, Finale from (Brass Band - Score and Parts) - Rachmaninoff, Sergei - Littlemore, Phillip
Rachmaninov composed his First Symphony in 1895, at the age of just 22 years. It received its first performance on March 27, 1897, at a Russian Symphony Society concert in St. Petersburg with Alexander Glazunov conducting. The premiere was not well-received, and Rachmaninov himself blamed Glazunov for a lacklustre approach for beating time rather than finding the music. Some contemporary reports even suggested that Glazunov was inebriated when he took to the stage! Despite the disappointment of the premiere performance, Rachmaninov never destroyed the score but left it behind when he left Russia to settle in the West, eventually it was given up for lost. After the composer's death, a two-piano transcription of the symphony surfaced in Moscow, followed by a set of orchestral parts at the conservatory in Saint Petersburg. In March 1945, the symphony was performed in Moscow for the first time since its 1897 premiere. It was a grand success, and this led to a new and more enthusiastic evaluation of the symphony. In March 1948 it received a similarly successful American premiere and the work proceeded to establish itself in the general repertory. The final movement (Allegro con fuoco) is colourful and grand but not without its darkly contrasting, menacing episodes that intensifies its malevolence. It is a work overflowing with ideas demonstrating a strong, highly individual, and self-assured young talent. Duration: 5:40
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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£29.95St. Andrew's Variations (Score Only)
This piece, written for the East Anglian Brass Band Festival in 1998, takes the form of eight variations and a finale, loosely based on the descending third motif heard in the initial theme. It was initially composed for junior band, and expanded and rescored for full band in 2006. There is no significance in the title, other than the fact it was written by a Scotsman to be played in the St Andrew's Hall, in Norwich!Alan Fernie was born and brought up in the Scots mining village of Newtongrange. From the age of 13 he learned to play the trombone both at school and with the local brass band, going on to study music in Glasgow and London. After a short period working as an orchestral musician, Alan moved into instrumental education, spending over 20 years teaching brass in schools all over the East of Scotland. It was during this time that he began to conduct and he has since directed bands at all levels, winning many awards. He first wrote for brass whilst still a student, and his music is now played, recorded and published throughout the world.In 2009, Alan was honoured with the "President's Award" from the Scottish Brass Band Association for services to banding. He is also proud to be associated as composer in residence with the acclaimed charity "Brass for Africa", with whom he spent two months recently teaching in Kampala, Uganda. Living in the Scottish Borders, Alan now works as a freelance musician, finding time to write, teach, conduct, judge, perform and act as compere throughout the UK and beyond.
Estimated dispatch 7-14 working days
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£33.32Fading Signals (Brass Band) Lucy Green
Fading Signals, by Lucy Green, was the winner of the 2025 UniBrass Composition Competition. The work is a contemplative exploration of the subtle nuances of communication, memory, and the passing of time. It reflects on the experience of crossing paths with others and forming connections that may gradually grow distant over time. This piece invites listeners to reflect on how signals - both audible and emotional - can shift, evolve, and sometimes fade. To view a video of Flowers Band performing the work please visit https://www.youtube.com/watch?v=hb4GcPtirDg Duration: approx. 4.00 minutes Difficulty Level: 2nd Section + PDF download includes parts and score. Sheet music available at www.brassband.co.uk (UK) or www.cimarronmusic.com (USA) 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 Bass Drum Tam-tam Tubular Bells
In Stock: Estimated dispatch 1-3 working days
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£30.00Bandamonium 2024 (Neil Lock) - Brass Band Sheet Music Full Score & Parts - LM541
COMPOSER: Neil LockThis march was submitted to the march composers' competition for "Bandamonium 3"in Hatherleigh, Devon in July 2024. The winning march was played by massed bands at the conclusion of the celebrations on Saturday 27th July 2024. Unfortunately, this march took second place in the competition, behind the march of Paul Pennicotte-Henrie, conductor of Okehampton Silver Band.The march can be played with or without the singing. (Even at the Whit Friday marches, begad!) I suggest that it should be introduced by 3-beat rolls.When played with singing, the "Bandamonium" lyrics (bars 10-13 and 56-57) are to be sung by all players, keeping to their own parts, with appropriate octave adjustment for their individual singing voices. Conductor and percussionists should sing with the main theme (Db and C at bars 10-13, F at 56-57). Listen to the 3rd cornet players!There is an additional part for Singers, in which the trio melody (bars 58 onwards) can be sung by Soprano and Tenor singers at a moderate choir standard. An octave-down option is also provided in the higher bars. This part can be given to "spare" singers within the band, or to singers external to the band if opportunity permits. The lyrics are:We are in Devon,We're in Hatherleigh,Whit Friday heaven,But we're marching free!Now it's past seven,Time to party,At BandamoniumIn Hatherleigh!LM541 - ISMN : 9790570005413
In Stock: Estimated dispatch 3-5 working days
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£25.99Since You've Been Gone - Brass Band Sheet Music Full Score & Parts - LMAM021
COMPOSER: Russell BallardARRANGER: David Beal"Since You Been Gone" is a song written by former Argent guitarist Russ Ballard and first released on his 1976 album Winning. It was covered by Rainbow in 1979 and released as a single from their album Down to Earth.In 1979, "Since You Been Gone" was covered by Rainbow, who released it as the first single from their 1979 album Down to Earth with Graham Bonnet on lead vocals. It was a top-10 single in the United Kingdom, where it reached number six. In the US, the song reached number 57. It was named the 82nd-best "Hard Rock Song of All Time" by VH1. The song was later included on the second trailer and on the soundtrack to Guardians of the Galaxy Vol. 3, which first aired on February 12, 2023, during Super Bowl LVII.Scored for British Brass BandAny purchases of this Item cannot be made from this listing please click on the link above - Any purchase using this site will be refunded
In Stock: Estimated dispatch 3-5 working days
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£54.99
All You Need Is Love - John Lennon - Thijs Oud
The Beatles remain the biggest-selling British group of all time with their countless hits and timeless classics written by John Lennon and Paul McCartney.All You Need Is Love is one such song that recently made it into the top 40 pop songs of all time. In this arrangement Thijs Oud has utilised all the original Beatles elements whilst, at the end, integrating 'snippets' of many more of their hits.Perfect for all concert programmes this will also make an excellent finale to your events.
Estimated dispatch 5-14 working days
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