Results
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£34.95Transformation (Brass Band - Score only) - Downie, Kenneth
I believe in transformation, God can change the hearts of men, And refine the evil nature, till it glows with grace again'. So wrote John Gowans in the second verse of his great hymn, 'I believe that God the Father, can be seen in God the Son', written specifically to affirm Salvationists' beliefs. It is sung to the tune Bethany and in seeking to explore this great subject at the heart of the Christian gospel in musical terms, the composer has used this fine tune as the basis. Although it never appears in its entirety, it is seldom out of the picture and much of the work is derived from it. The other main source of material is the lovely, simple chorus, 'Some day I shall be like him, changed to heavenly beauty, when his face I see'. This chorus is especially prominent in the middle section but there are important references to it throughout. There are also brief references to Charles Wesley's hymn, 'Love Divine' and, in particular, the telling lines, 'Changed from glory into glory, till in Heaven we take our place'. The work suggests that, at times, the process of being transformed is a struggle, portrayed with many passages of fraught and demanding music. Considerable reserves of stamina and technique are required while, in contrast, the chorus, 'Some day I shall be like him' provides the warm, gentle centre of the work. The premiere of the work was given by The International Staff Band of The Salvation Army in Cadogan Hall on Friday 3rd June 2011, as part of the band's 120th anniversary celebrations.
Estimated dispatch 7-14 working days
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£44.95Fantasy on Sempre Libera (Euphonium Solo with Brass Band - Score and Parts) - Verdi, Giuseppe - Graham, Peter
During the 19th century the great instrumental virtuosi reined supreme. Pianists Liszt and Thalberg and violinists Paganini and Saraste amazed audiences with their wide-ranging technical and artistic abilities, fuelled by increasingly difficult paraphrases and variations on popular tunes of the day.The Fantasy on Sempre Libera looks back with affection to this period and provides an opportunity for present day euphonium virtuoso David Thornton to demonstrate the skills which mark him out as one of the world's finest players.
Estimated dispatch 7-14 working days
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£44.95Fantasy on Sempre Libera (Euphonium Solo with Brass Band)
During the 19th century the great instrumental virtuosi reined supreme. Pianists Liszt and Thalberg and violinists Paganini and Saraste amazed audiences with their wide-ranging technical and artistic abilities, fuelled by increasingly difficult paraphrases and variations on popular tunes of the day.The Fantasy on Sempre Libera looks back with affection to this period and provides an opportunity for present day euphonium virtuoso David Thornton to demonstrate the skills which mark him out as one of the world's finest players.
Estimated dispatch 7-14 working days
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£69.95Transformation (Brass Band - Score and Parts)
I believe in transformation, God can change the hearts of men, And refine the evil nature, till it glows with grace again'. So wrote John Gowans in the second verse of his great hymn, 'I believe that God the Father, can be seen in God the Son', written specifically to affirm Salvationists' beliefs. It is sung to the tune Bethany and in seeking to explore this great subject at the heart of the Christian gospel in musical terms, the composer has used this fine tune as the basis. Although it never appears in its entirety, it is seldom out of the picture and much of the work is derived from it. The other main source of material is the lovely, simple chorus, 'Some day I shall be like him, changed to heavenly beauty, when his face I see'. This chorus is especially prominent in the middle section but there are important references to it throughout. There are also brief references to Charles Wesley's hymn, 'Love Divine' and, in particular, the telling lines, 'Changed from glory into glory, till in Heaven we take our place'. The work suggests that, at times, the process of being transformed is a struggle, portrayed with many passages of fraught and demanding music. Considerable reserves of stamina and technique are required while, in contrast, the chorus, 'Some day I shall be like him' provides the warm, gentle centre of the work. The premiere of the work was given by The International Staff Band of The Salvation Army in Cadogan Hall on Friday 3rd June 2011, as part of the band's 120th anniversary celebrations.
Estimated dispatch 7-14 working days
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£14.82Finale from Symphony No.3 (Organ Symphony) (Brass Band) Additional Parts
Saint-Saens' magnificent Finale from Symphony No.3 (widely known as the 'Organ Symphony') has here been arranged for brass band with optional organ by Kevin Norbury. It was recorded by The International Staff Band on its CD Manuscripts, although this version has been revised in places. Saint-Saens decided to add the organ and piano to his 3rd symphony as a pragmatic orchestration innovation. The composition of this symphony was probably started in 1885 and a first draft was completed in Prague in 1886. Saint-Saens later recalled its eventful genesis: 'The Symphony in C was three-quarters sketched out when I found it impossible to write the finale. I did not know how to resolve this situation, until one night I suddenly woke up and, in a sort of hallucination, I heard the whole finale, which I hastily wrote down in outline, knowing that if I went back to sleep without having put anything on paper, I would have forgotten it all the next day.' The symphony was first performed under the composer's direction at Saint James's Hall in London on May 19, 1886. This arrangement by Kevin Norbury can both function as a stand-alone brass band piece, and be performed with an organ by omitting the notes found in square brackets in the parts and score. To view a rolling score video please visit www.youtube.com/watch?v=OlUd_FppBY8 PDF download includes additional parts as listed below. Full set including score available here. Sheet music available from: UK - www.brassband.co.uk USA - www.cimarronmusic.com Difficulty Level: 1st Section + Length: 8.30 mins. Alternative Parts included in this download: Solo Horn F 1st Horn F 2nd Horn F 1st Baritone B.C. 2nd Baritone B.C. 1st Trombone B.C. 2nd Trombone B.C. Euphonium B.C. Tuba 1 B.C. (Bass Eb equivalent) Tuba 2 B.C. (Bass Bb equivalent)
In Stock: Estimated dispatch 1-3 working days
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£48.15
Finale from Symphony No.3 (Organ Symphony) (Brass Band) Saint-Saens arr. Norbury
Saint-Saens' magnificent Finale from Symphony No.3 (widely known as the 'Organ Symphony') has here been arranged for brass band with optional organ by Kevin Norbury. It was recorded by The International Staff Band on its CD Manuscripts, although this version has been revised in places. Saint-Saens decided to add the organ and piano to his 3rd symphony as a pragmatic orchestration innovation. The composition of this symphony was probably started in 1885 and a first draft was completed in Prague in 1886. Saint-Saens later recalled its eventful genesis: 'The Symphony in C was three-quarters sketched out when I found it impossible to write the finale. I did not know how to resolve this situation, until one night I suddenly woke up and, in a sort of hallucination, I heard the whole finale, which I hastily wrote down in outline, knowing that if I went back to sleep without having put anything on paper, I would have forgotten it all the next day.' The symphony was first performed under the composer's direction at Saint James's Hall in London on May 19, 1886. This arrangement by Kevin Norbury can both function as a stand-alone brass band piece, and be performed with an organ by omitting the notes found in square brackets in the parts and score. To view a rolling score video please visit www.youtube.com/watch?v=OlUd_FppBY8 PDF download includes score and parts. Additional parts (Horn in F and Baritone, Trombone, Euphonium & Tuba in Bass Clef) available here. Sheet music available from: UK - www.brassband.co.uk USA - www.cimarronmusic.com Difficulty Level: 1st Section + Length: 8.30 minutes 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 Glockenspiel Percussion Organ (optional)
In Stock: Estimated dispatch 1-3 working days
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£33.33March - Helping Hands (Rob Bushnell) Brass Band
Helping Hands was written for the British Bandsman March Composition Contest, entered into category 2 (marches for 3rd/4th section bands). The piece is loosely programmatic in nature: The introductio is fanfare-like, announcing the date of the next Whit Friday Contests and the bands' anticipation of and preparation for the event. The first section is the march of the volunteers, as they descend upon the many venues, ready to run the contests. The second section (bars 35 to 52) sees the contests start. The bands strike up, march, finish and go from place to place, whilst the volunteers manage them, the audiences, and all manner of issues and problems thrown at them. The third section (bars 53 to 69) represents the bad weather which has, at times, presented itself on that particular Friday. But everyone carries on (possibly the sun comes out) and we enjoy the day. The trio uses the hymn St. Vincent by Sigismund Neukomm: St. Vincent de Paul is the patron saint of charities and volunteering, hence its use here. The piece is influenced by marches that are commonly heard during the Whit Friday March Contests, using motifs, rhythms and harmonic progressions (sparingly) throughout the piece. March-card sized parts included, with alternatives for horns in F and lower brass in bass clef. To view a rolling score video of the piece please visit www.youtube.com/watch?v=diqDoe0XpcA PDF download includes score and parts. Sheet music available from: UK - www.brassband.co.uk USA - www.cimarronmusic.com Difficulty Level: 3rd Section + Length: 3.50 minutes 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 Drums
In Stock: Estimated dispatch 1-3 working days
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£33.33Miserere mei, Deus (Brass Band) Gregorio Allegri arr. Espen Haukas
Miserere mei, Deus was composed by the Italian composer Gregorio Allegri (1582-1652) during the 1630s for use in the Sistine Chapel during matins, as part of the exclusive Tenebrae service on Wednesday and Friday of the Holy Week. The Miserere is written for two choirs, one of five and one of four voices, and is generally accepted to be one of the finest examples of Renaissance polyphony to survive to the present day. Tutti choirs sing a simple version of the original Miserere chant; one voice then, spatially separated, sings an ornamented "commentary" on this. The comment-part is left out in this arrangement due to its meaning with text, though monotonous in tune. The introduction is added by the arranger to set the right atmosphere before the original chant is played. The brass choirs are meant to be placed opposite each other in a church or large hall. To view a video of Norges Nasjonale Brassband performing the piece please visit www.youtube.com/watch?v=YrJU3lwYD9U PDF download includes score and parts. Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Difficulty Level: 4th Section + Instrumentation: Brass Choir 1: Solo Cornets (incl. Repiano) Horn in Eb Tenor Trombones in Bb Euphoniums Basses in Bb Timpani Brass Choir 2: Soprano Cornet in Eb 2nd Cornets in Bb 3rd Cornets in Bb Flugelhorn Horns in Eb Baritones Bass Trombone Basses in Eb
In Stock: Estimated dispatch 1-3 working days
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£120.00
Rhapsody in Black (Bra) - Andi Cook
The primary inspiration for this work comes from the composer's first encounter with the genre of Symphonic Metal - the opening track of the 2004 Nightwish album 'Once', entitled Dark chest of Wonders. The combination of full orchestra, operatically trained female vocals and the raw power of a Scandinavian metal band was a potent mix that instantly had me hooked.That same dark and powerful sound is one that a brass band can generate, and I've tried to capture that in this composition. Heavy Rock/Metal as a genre is arguably fifty years old now, but symphonic metal is a newer concept, and I feel possibly the one that can bridge the gap between two musical styles very dear to me.Composer Gilbert Vinter had explored through music the connotations that different colours held for him, and his movement Purple from 'Spectrum' gave me an idea for the structure of 'Rhapsody in Black'. Andi Cook explored the different connotations of one colour within his own life, black being an easy choice due to the personal dichotomy of the black leather jacket he wore to the rock club on Friday night and the black suit jacket and tie he wore to the concert hall the next day.To avoid repetition the word 'black' is omitted from the five movement titles, each of which is a different episode. '...as Thunder' is a furious argument between two people - the top and bottom of the band - set against the backdrop of a storm, with lightning flashing outside while barbs, insults, sarcasm, tears and even violence is traded inside. Following that '...Satin and Pearls' is an old black-and-white movie with a wistful character to it as if we're looking back a screen icon with fondness long after their career or even their life has ended. '...as the Raven's Wing.' is deliberately gothic and funereal, hinting at Edgar Allen Poe's similarly named poem, with undertones of death and afterlife. The shift into F/C Minor (band pitch) represents the descent - alive - into the grave that Poe had a paranoid fear of his entire life. Family and friends standing around grieving, oblivious as we're lowered into the earth despite frantic attempts to make ourselves heard. '...and Chrome' is an unashamed motorcycle reference with all its born-to-be-wild, open air, high speed and freedom overtones. In a deliberate contrast to what went before it continues several of the same motifs though this time in the major key. Lastly, we reprise the second movement with '...as the Night Sky' which is simply the feeling of walking home under the summer stars, with someone important - who that is, is left to the listener, but a walk under the stars is always that bit special.There's an old saying that very few things are black and white. I hope this work will prove that even black alone isn't quite as simple as it's often made out....'Rhapsody in Black' is dedicated to the composer's friend and mentor John Roberts, who shares his love of both brass and rock.
Estimated dispatch 7-14 working days
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£57.00A Hairy, Scary Spider - Thomas Geerts
A Hairy Scary Spider is the second part of the musical theatre piece Welcome to Halloween. This piece can be ordered separately or as part of the complete set. The piece describes a day in the life of a hairy, scary spider. In the beginning you aren't really sure what you are looking at. Is it a ball of wool or a big shadow? It turns out to be a spider sitting happily in his web. At a certain point while the whole band is watching him carefully, he jumps which leads to an inevitable scream.
Estimated dispatch 10-14 working days
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