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  • £34.95

    Enter the Galaxies - Paul Lovatt-Cooper

    Enter the Galaxies paints a musical picture of the experiences and excitement space exploration has to offer. The music begins with a 'space-like' whirlwind of triplets and semiquavers from the cornets and glockenspiel which accompanies a fanfare from the 'middle' of the band. This quickly leads into a presto section introducing the lyrical principal horn as the soloist. The horn is followed by the euphonium as the flowing melody lines are passed around, juxtaposed by a virtuosic counter-line from the principal cornet.The journey into the unknown is taken up a gear as the music modulates through a variety of keys before featuring the back row cornets playing the central melodic motif. From this point the music grows in intensity before the euphonium and soprano cornet 'lift off' into the finale with glissandi to concert Cs.Following a brief coda, the music comes to a climactic end using the melodic intervals heard throughout the piece with an augmented 5th resolving to the dominant 5th and finally onto a brilliant F major chord to close.Enter the Galaxies is dedicated to Cory Band and received its premi?re in November 2008 at The Sage, Gateshead, as part of the band's winning programme at the Brass in Concert Chamionships. The piece has subsequently been featured as the title track to a CD to celebrate the 125th anniversary of the Cory Band.

    Estimated delivery 3-5 days
  • £34.95

    Enter the Galaxies - Paul Lovatt-Cooper

    Estimated delivery 7-14 days
  • £34.95

    Enter the Galaxies - Paul Lovatt-Cooper

    Estimated delivery 5-10 working days
  • £25.50

    Hushabye Mountain - R & R Sherman - Jonathan Bates

    Originally arranged for Owen Farr, Hushabye Mountain is a well-loved and cherished song by the renowned Sherman Brothers from the 1968 motion picture, Chitty Chitty Bang Bang. The work is undoubtedly one of the most popular songs from the show. The song acts as an idyllic lullaby, sang by Caracatus Potts as he sends his children to sleep. This arrangement, as a tenor horn solo by Fodens Band’s Principal horn Jonathan Bates, features the tuned percussion throughout, and sets the melody initially over a music-box-like idea, before more dreamy and tranquil soundscapes enter.

    In stock: Estimated delivery 1-3 days

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  • £21.50

    Once Upon A Christmas Song - Peter Kay & Gary Barlow - Gavin Somerset

    They just don’t write Christmas songs like they used to! Enter, Geraldine McQueen (AKA Peter Kay) who set to put all that right with her (his!) spoof Christmas song, ‘Once Upon A Christmas Song’, co-written by Gary Barlow. The proceeds from the single were donated to the NSPCC and at its peak, reached number 5 in the UK charts. The song’s memorable video and hook which tells of them singing Christmas songs ‘Over & Over & Over again’ made the melody an instant hit. Now your band can inject some humour into your festive concerts with this great little number. Is there a hidden Geraldine in your band?! For Christmas 2020, we have made backing tracks of this title for you to download. These can be used either for personal playback use, or to create a virtual performance of the piece with your full band. To download the backing track, please RIGHT CLICK HERE & Save As .

    In stock: Estimated delivery 1-3 days

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  • £44.95

    Tale of the Dragon - Paul Lovatt-Cooper

    For decades the Japanese people were plagued by a fearsome dragon, which would attack the villages and towns killing many people. The Emperor, fearing for his beautiful daughter's life, decreed that if anyone could defeat the dragon they could have his daughters hand in marriage.The music opens at the gates of the Emperors palace. Our hero, a young and brave soldier, returns with the army victorious. To reward his bravery, the soldier is summoned to the temple by the Emperor.On his way to the temple the young soldier meats the Emperors daughter, represented by the slow Soprano cornet. They fall in love and the young soldier accepts the challenge from the Emperor and embarks in his quest to rid the land of the dragon.The music continues at the foot of an erupting volcano, the soldier finds the dragon and they enter into battle. After a fearsome fight and summoning every last bit of his strength, the young soldier eventually manages to drive his sword into the dragon's heart.With the final closing chords of this piece representing the fatal blows from the victorious soldier's sword, the dragon collapses and our hero stands victorious.Tale of the Dragon is a descriptive piece that provides opportunities for soloists within the piece to stand at the front to perform. This high octane finale has plenty for all musicians and listeners to enjoy.

    Estimated delivery 7-14 days
  • £27.00

    Auld Lang Syne

    It is a tradition in most English-speaking countries to sing this song at the stroke of midnight on New Year's Eve to usher in the New Year. The words are at least partially written by Robert Burns and the words "Auld Lang Syne" literally mean "old long ago" or "the good old days", providing a moment of reflection before moving forwards into the New Year.The tubular bells, although pitched, sound midnight when they enter at bar 10.This arrangement was prepared for Brass Band of the Western Reserve, musical director Keith M Wilkinson, to perform at First Night, Akron, Ohio, December 31st, 2007. The following choreography is suggested:Commence the performance with all the cornets scattered around the auditorium.At the end of bar 18 invite the audience to sing along with the band.At bar 27 the cornets move to stand in front of the other members of the band to lead to the stirring conclusion. Should auld acquaintance be forgot and never brought to mind?Should auld acquaintance be forgot and days of auld lang syne?For auld lang syne, my dear, for auld lang syne,We'll take a cup of kindness yet, for auld lang syne.

    Estimated delivery 7-14 days
  • £64.95

    Platform to the Heavens - Paul Lovatt-Cooper

    The piece takes its inspiration from the mountain ranges from one of my favourite countries, Switzerland.I have visited the Swiss Alps on many occasions and I am still taken back by its sheer awesome beauty with every visit. This commission gave me the opportunity to pay homage to this wonderful landscape and paint my own musical picture of it.The piece opens with what I imagine daybreak would be like at one of its many peaks. With the sun growing behind the mountain range, the piece builds from a single note to a huge climatic chord revealing Mother Nature’s creation.Then at rehearsal figure ‘C’ the tempo changes dramatically as we fly through the many slopes of the mountains as if on a manic skiing expedition, revealing the many dangers within the Swiss Alps.The twists, turns and climaxes begin to die away as we enter rehearsal figure ‘M’ - nightfall over the mountains. As the sun disappears, the sky darkens to reveal the beautiful starlit sky above the mountain range. This middle section starts with the various cadenzas that serve as echoes around the Alps. It then leads to a lyrical solo at rehearsal figure ‘O’ as the moonlight illuminates the icy mountain peaks. A final cadenza to conclude this section highlights the end of nightfall as the sun starts to rise again.This recapitulation from the opening, signals a new dawn as the sun rises above the snowy peaks once again. The music at this point in its slightly altered state highlights the dawn of a new day in the Alps. The fast manic ski ride follows which takes the piece to its grand finale conclusion.The idea behind the title of this piece is that the Swiss Alps are so beautiful and vast; I can only imagine that they could be a platform connecting the earth to the heavens above.Paul Lovatt-Cooper

    Estimated delivery 7-14 days
  • £34.95

    When Thunder Calls - Paul Lovatt-Cooper

    When Thunder Calls was commissioned by Dr Nicholas Childs and the Black Dyke Band for their performance at the Gala Concert of the Swiss Open Championships in September 2011. When composing this piece, I decided to focus on both the music and the stage presentation. The way the piece has been composed and designed makes it a very effective way of starting a concert or a second half of a concert.At the start of the piece, the percussion enter the stage and take their positions in their usual place behind the band. They begin playing the piece without a conductor. They keep repeating the opening section while the Basses, Horns, Baritones and Euphoniums march onto the stage.This group of musicians take their seats with the Horns, Baritones and Euphoniums sitting where they usually sit in the band but the Basses sit where the solo cornets usually sit, forming an inner semi-circle of lower brass. When seated and when the music gets to the end of bar 4 the piece continues onto section A. All performers keep repeating this next 4-bar phrase until the trombones march onto stage and stand at the front of the stage with the Bass Trombone standing in between the other two trombones.All performers then play from figure B to C with the trombones taking the lead at the front. When the performers get to rehearsal figure C they repeat this section (the same as section A) while the trombones move from the front of the stage and take their positions where the Basses would normally sit (between the horns and the percussion) and remain standing. Meanwhile, the flugel enters the stage and stands at the front of the stage (standing where the trombones did). When in position the flugel soloist picks up into rehearsal figure D.When the flugel soloist finishes playing, just before rehearsal figure F they then move to their normal seat in the band. At figure F the cornets march onto the stage from either side, they turn and stand side by side each other facing outward towards the audience forming two ‘fanfare’ lines either side of the lower brass. The conductor follows the cornets on stage and on cue they lift their instruments at the same time and perform when the piece gets to figure G.There is no more moving around from this point on other than the solo cornet to move forward with the solo euphonium and perform their duet at letter H. Also the horns are required to stand and play at letter I and then sit just before J.When performed with all the choreography, this piece makes for an exciting addition to any concert repertoire both for the performer and the audience.Suitable for 3rd Section Bands and Above

    Estimated delivery 7-14 days
  • £55.00

    Purcell Variations - Kenneth Downie

    Purcell Variations, composed in 1995, the year of the tercentenary of the death of the great English composer, was a watershed work in that it was Downie's first extended composition to be published independently of The Salvation Army and intended for wider use. For his theme, Downie has chosen what has come down to us as the hymn tune Westminster Abbey, which is in fact an adaptation made in 1842 by Ernest Hawkins, who was a Canon of Westminster Abbey where Purcell himself had been organist. Purcell’s original is actually the closing section of an anthem, O God, Thou art my God, where it provides the final paean of praise, sung to repeated ‘Hallelujahs’. Purcell’s tune, particularly the opening triadic gesture, is used as a source of thematic and harmonic material – a quarry for ideas if you like: “I was obsessed with the intervals of thirds in Purcell’s tune, rather like Brahms in his Third Symphony”, the composer says.There are five variations, preceded by an extended introduction and theme. In the first variation, Purcell’s lilting dance pulse has been transformed into a bright, playful sequence, in which each phrase of the melody is given its own transformation. In the second, Purcell’s opening gambit is extended into a graceful, flowing waltz, featuring solo and first horn at the top of the register. The composer offers a range of metronome speeds in this movement, in which he is emulating the wistful elegance of Erik Satie’s famous Gymnopedie. We enter the world of big band jazz in variation three, where Purcell’s tune strides along with added syncopation and bluesy major/minor thirds to the fore. After the breathless energy and blazing brass of the big band, Downie moves into his ‘home territory’ for a beautifully worked lyrical variation. There is an enhanced urgency about the final variation, which opens with an extended reprise of the work’s introduction. Purcell’s second and third phrases provide the preparation for the exuberant return, in customary triumph of Purcell’s ‘Hallelujah’.

    Estimated delivery 7-14 days