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£30.00Amazing Grace (W. Walker arr. by Paul Pennicotte-Henrie) - Brass Band Sheet Music Full Score and Parts - LM642
COMPOSER: W. WalkerARRANGER: Paul Pennicotte-Henrie"Amazing Grace" is a Christian hymn published in 1779 by English Anglican clergyman, abolitionist, and poet John Newton. It is possibly the most sung and most recorded hymn in the world and is especially popular in the United States, where it is used for both religious and secular purposes. Newton wrote the words from personal experience; he grew up without any particular religious conviction, but his life's path was formed by a variety of twists and coincidences that were often put into motion by others' reactions to what they took as his recalcitrant insubordination. He was pressed into service with the Royal Navy, and after leaving the service, he became involved in the Atlantic slave trade.In 1748, a violent storm battered his vessel off the coast of County Donegal, Ireland, so severely that he called out to God for mercy. While this moment marked his spiritual conversion, he continued slave trading until 1754 or 1755, when he ended his seafaring altogether. Newton began studying Christian theology and later became an abolitionist.Ordained in the Church of England in 1764, Newton became the curate of Olney, Buckinghamshire, where he began to write hymns with poet William Cowper. "Amazing Grace" was written to illustrate a sermon on New Year's Day of 1773. It is unknown if there was any music accompanying the verses; it may have been chanted by the congregation. It debuted in print in 1779 in Newton's and Cowper's Olney Hymns, but settled into relative obscurity in England. In the United States, "Amazing Grace" became a popular song used by Baptist and Methodist preachers as part of their evangelizing, especially in the American South, during the Second Great Awakening of the early 19th century. It has been associated with more than 20 melodies. In 1835, American composer William Walker set it to the tune known as "New Britain" in a shape note format; this is the version most frequently sung today.
In Stock: Estimated dispatch 3-5 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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£56.00A 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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£64.95Earth's Fury - Paul Lovatt-Cooper
This piece is written in a programmatic style and follows the story of a quaint American town on a sunny day with people going about their business, children playing etc. Out in the distance, a twister starts to form and...
Estimated dispatch 5-7 working days
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£44.95Oklahoma Show Selection
Includes: I Cain't Say No; Out Of My Dreams; The Surrey with the Fringe on Top; Oh What a Beautiful Mornin' Many a New Day; People Will Say We're in Love; Oklahoma.
Estimated dispatch 7-14 working days
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£79.95The Lost Village of Imber (Brass Band - Score and Parts) - Bond, Christopher
The Lost Village of Imber was commissioned by Bratton Silver Band in 2019 in celebration of 160 years of the band; 1859-2019. Structured in three movements, the complete work was premiered by Cory Band at Wiltshire Music Centre in February 2020.The village of Imber on Salisbury Plain had been inhabited for over one thousand years when it was evacuated in 1943 to make way for military training in the Second World War. At the time, with preparations for the Allied invasion of Europe underway, most villagers put up no resistance, despite being upset, with the belief that they'd return once the war had concluded. To this day, Imber and its surrounding land remain a military training ground. The villagers never returned, and just the shell of what was once a community remains.Structured in three movements, it is on this very real story that the work is based, setting out the series of events of 1943 in chronological order.The first movement, On Imber Downe, portrays a sense of jollity and cohesiveness, a community of individuals living and working together before news of the evacuation had broken. Sounds of the village are heard throughout, not least in a series of percussive effects, the anvil of the blacksmith; the cowbell of the cattle and the bells of the church.The second movement, The Church of St. Giles, begins mysteriously and this sonorous, atmospheric opening depicts Imber in its desolate state and the apprehension of residents as they learn they have to leave their homes. Amidst this is the Church, a symbol of hope for villagers who one day wish to return, portrayed with a sweeping melodic passage before the music returns to the apprehension of villagers facing eviction around their sadness at losing their rural way of life.In complete contrast, the third movement, Imemerie Aeternum, portrays the arrival of the military, complete with the sounds of the ammunition, firing and tanks, sounds which were all too familiar to those living in the surround areas. To close, the Church of St. Giles theme returns in a triumphant style, representing the idea that the church has always been, even to this day, a beacon of hope for the villagers and local community, both the centrepiece and pinnacle of a very real story.Duration: 13.30
Estimated dispatch 7-14 working days
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£36.95Wake-Up Call (Brass Band - Score and Parts) - Wiffin, Rob
This exciting concert opener describes a day in a life.Propelled out of bed at 6 am. by the raucous wake-up call, we are immediately caught up in the manic impetus of the day. The music progresses through several changes of mood linked by the 7/8 theme but the high energy never drops. There are moments of hustle and bustle, high points and darker moods but, above all, there is an exuberant zest for life. There are rhythmic challenges in this vivacious concert opener and everyone gets something to play, but the technical challenges are not extreme.Duration: 4.45
Estimated dispatch 7-14 working days
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£59.95Sinfonietta - Saints and Devils (Brass Band - Score and Parts) - Wiffin, Rob
Saints and Devils is a challenging three movement work:Dance with the Devil (4.30)A Glimpse of Paradise (4.45)Reyes Magos (3.45)I wrote it when I was living in Spain where the Catholic culture is still much more prevalent than in the UK. The first two movements are a transition from dark to light; Dance with the Devil is aggressive and occasionally macabre whereas A Glimpse of Paradise is serene.The first and final parts of the second movement were originally written for a sequence in the Royal Military Tattoo 2000, played under the John Magee poem High Flight - 'Oh I have slipped the surly bonds of Earth ............ Put out my hand, and touched the face of God'- with videos of eagle owls in flight dramatically projected onto the buildings of Horse Guards in Whitehall, London.The last movement, Reyes Magos, is the joyous fiesta of the Three Kings. In Spain, January 6th, rather than Christmas Day, is the main day of present-giving, marking the Epiphany, the arrival of the Kings from the Orient at the Nativity. Saints and Devils is technically and expressively demanding but is written within the realms of tonal language.- Rob WiffinDuration: 13.00
Estimated dispatch 7-14 working days
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£69.95
Transformation (Brass Band - Score and Parts) - 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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£34.95
Transformation (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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