Results
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£44.95Dances and Arias (Brass Band - Score only) - Gregson, Edward
This work was commissioned by Boosey & Hawkes Band Festivals (with funds provided by the Arts Council of Great Britain) for the National Brass Band Championships of Great Britain, held at the Royal Albert Hall, London, on 7th October 1984.Dances and Arias is in one continuous movement, but as the title suggests is a series of alternating fast and slow sections as follows: Dance - Aria I - Dance (scherzo) - Aria II - Dance. The opening dance is energetic and introduces a four-note motif (on trombones) which is the basis for much of the melodic material in the work. Throughout, there is a continuous process of thematic cross-reference and transformation.The first aria unfolds a long melody on solo cornet, eventually continued by all the solo cornets, and dissolving into a shimmering harmonic background (muted cornets, horns and baritones) over which is heard a brief self-quotation on solo tuba. This leads into the second dance, a frenetic scherzo, followed by the second aria, in the style of a lament (solo euphonium, followed by two flugel horns). This builds to a powerful climax which subsides, leaving the percussion to introduce the final toccata-like dance. It transforms material from the opening before a coda brings the music to a triumphant close. The large percussion section is an integral part in the work and uses a wide variety of instruments including timpani, glockenspiel, vibraphone, xylophone, tubular bells, tom-toms, snare drum, bongos and tam-tam.The work is dedicated to my brother and sister.- Edward GregsonDuration: 14.00
Estimated dispatch 7-14 working days
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£79.95Orion (Brass Band - Score and Parts)
Orion was named after the giant huntsman in Greek mythology and is a prominent constellation located on the celestial equator and visible throughout the world. It is one of the most conspicuous and recognisable constellations in the night sky. This piece and its inspiration were composed as a tone poem creating a musical picture of this amazing phenomenon.The opening introduces the constellation. Starting mysteriously with the percussion and basses this section develops a series of rhythmic and harmonic interludes from the upper brass. As this introduction develops, the melodic line lead by the Solo Cornet and Euphonium builds as the accompanying instruments increase in their rhythmic complexity. This section climaxes with a short fanfare motif which will be a prominent theme throughout this piece.The fast rhythmic section that follows serves as a technical test for the players. The thematic device introduced by the Solo Cornets is passed around various soloists and sections within the ensemble. This part of the tone poem gives the opportunity for the ensemble to highlight their technical prowess. The fanfare motif returns to conclude this section and takes the piece into the slow middle movement.Motifs heard earlier are mixed with new ideas in this slow section which give an opportunity for a variety of soloists to demonstrate their musical prowess. After the various solo passages and cadenzas, the mood shifts dramatically to a more ominous section that builds in texture and dynamic. Concluding with our returning fanfare motif the piece then builds in momentum towards our finale section.This finale is a technical showcase which will further test the playing ability and stamina of soloists, small groups and the full ensemble. Using prominent musical themes heard throughout this piece the music builds to a glorious conclusion fitting with wonderful constellation.
Estimated dispatch 7-14 working days
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£24.95
Lloyd (Brass Band - Score and Parts) - Howard, Cuthbert - Coles, Bramwell
The first presentation of the theme can be used for the purpose of accompanying congregational singing. At Section A the second presentation of the tune appears in the key of the dominant, the melody being given throughout to Solo Horn, with First Horn, First Trombone, Soprano and Flugel reinforcing the melody in the various phrases. Incidentally, see that the players do not break these phrases; it should be possible to take the four bars in one breath quite easily. Take due care of the light and shade which should be delicately applied. In the last bar the music gathers strength as we pass back into the original key for the last verse; pay particular attention to the part allotted to Second Baritone and Euphonium which needs to be slightly stressed. For the last appearance of the tune at Section B the full Band is used, apart from the third phrase which is given solo by Solo Comet with a light accompaniment above a bass pedal. Notice the rit. operating from the end of the eleventh bar and also the short swell effect on the fourth beat of the fourteenth bar.
Estimated dispatch 7-14 working days
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£12.50
Lloyd (Brass Band - Score only) - Howard, Cuthbert - Coles, Bramwell
The first presentation of the theme can be used for the purpose of accompanying congregational singing. At Section A the second presentation of the tune appears in the key of the dominant, the melody being given throughout to Solo Horn, with First Horn, First Trombone, Soprano and Flugel reinforcing the melody in the various phrases. Incidentally, see that the players do not break these phrases; it should be possible to take the four bars in one breath quite easily. Take due care of the light and shade which should be delicately applied. In the last bar the music gathers strength as we pass back into the original key for the last verse; pay particular attention to the part allotted to Second Baritone and Euphonium which needs to be slightly stressed. For the last appearance of the tune at Section B the full Band is used, apart from the third phrase which is given solo by Solo Comet with a light accompaniment above a bass pedal. Notice the rit. operating from the end of the eleventh bar and also the short swell effect on the fourth beat of the fourteenth bar.
Estimated dispatch 7-14 working days
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£90.30Czardas - Vittorio Monti
There are composers that have gone done in history by just a single composition. One of those is the Italian violinist and composer Vittorio Monti (1868-1922). Around 1904 he wrote "Czardas", which soon became a favourite among violinists inrestaurant and gipsy orchestras. Monti was also conductor of the Lamoureux Orchestra in Paris and wrote music for ballets and operettas.Csardas is originally a Hungarian folk dance with a slow part (lassu) and a fast part (friska). The virtuoso solo in this arrangement for brass band is written for euphonium and marimba.
Estimated dispatch 5-14 working days
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£36.01Love Divine (Blaenwern) (Brass Band) William Rowlands arr. Kenneth Downie
This delightful setting for brass band by Kenneth Downie is based on the much loved hymn Love Divine, All Loves Excelling, alternatively known as Blaenwern. An optional organ part which will enhance the last verse is included. Kenneth Downie writes: 'It has been a delight to work on this wonderful Welsh hymn tune called Blaenwern, a tune which perfectly suits the majestic words by Charles Wesley, 'Love divine, all loves excelling'. This hymn is all about a big, expansive, all-embracing God, and I have tried to capture this aspect of the words. The rising interval in the introduction is an important feature in developing the notion of a 'big God', and its reappearance near the end is intended to be very significant. The hymn is full of memorable phrases which will hopefully inspire players, singers and conductors as they contemplate the text in preparation for any performance. 'Joy of Heaven, to earth come down', 'Enter every longing heart', 'Finish then thy new creation', and then the last amazing four lines: 'Changed from glory into glory, Till in Heaven we take our place, Till we cast our crowns before thee, Lost in wonder, love and praise'. The addition of the organ in the last verse, by special request of Peggy and Scott Thomas who commissioned the arrangement, should add to the majesty of the music, but of course, it is not fundamental to any performance. May this music bring honour to our amazing God!' To view a rolling score video of this work please visit www.youtube.com/watch?v=y4dM0fZaVug Sheet music available from www.brassband.co.uk Difficulty Level: 4th Section + Length: 4.00 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 Percussion 1-2 Organ (optional)
In stock: Estimated dispatch 1-3 days
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£36.01Polka from 'The Bartered Bride' (Brass Band) Smetana arr. Rob Bushnell
Considered a major contribution to the develop of Czech music, The Bartered Bride by Bedrich Smetana is a comic opera in three acts that premiered, in its final version, in 1870; having not been a great success when the original two-act version premiered at the Provisional Theatre, Prague on 30 May 1866. The opera was part of Smetana's aim to create a native Czech music after the conductor Johann von Herbeck commented that Czechs were incapable of making music of their own. Whilst he avoided the direct use of folksongs, Smetana did use numerous traditional Bohemian dance forms, such as the furiant and the polka, leading to music that was Czech in spirit. 'Sold Bride', a more accurate translation of the original Czech title (Prodana nevesta), tells the story of two lovers (Marenka and Jenik) who want to marry despite Marenka's father's obligations for his daughter to marry the son of a wealthy landowner, Micha. Scheming, condition proposals and secret identities leads to a happy ending. The polka was not in the original 1866 version. A revision in October 1866 saw the addition of a gypsy dance near the start of act 2. But by the next performance in January 1869, this had been replaced by a polka. In June 1869, a new polka replaced the January version's (as well as being moved to the end of act 1) and this is the one that we know and love today. This arrangement is for British-style brass band, with *alternative parts for horns in F and bass-clef lower brass. 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 Percussion (Triangle, Cymbal(s) & Bass Drum)
In stock: Estimated dispatch 1-3 days
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£36.01Disinformation! (Brass Band) Joe Galuszka
This atmospheric work by English composer Joe Galuszka is set in three movements: I. Fear II. Hope III. Solidarity (March for Truth) The composer writes: 'All around us is mistrust in the information we receive. Chinese misinformation. Russian disinformation. 'Fake News' in the United States. At every turn we doubt what we hear, what we see. Disinformation was composed in response to the ever-growing and all powerful misinformation campaigns worldwide that reached dizzying levels of influence, coming from some of the most eminent heads of states, during the turn of the 21st century. With division and disillusionment now rife and engrained in Western democracies, the unravelling of the social order is reflected in this short work for brass band. Opening with Fear, Disinformation starts with vast amounts of noise taking over the establishment and paints a world with people coming to terms with the cacophony of sound that is 'false information'. With a retreat to a brief moment of solace, Hope conjures up a calm escapism where on the outside, the brave and the wise look on to what is becoming of our new world. Maybe there is chance to pull together? Ending with a frenzied, brazen climax, the piece concludes with Solidarity - where people and the politicians come to loggerheads in a battle - where those who seek division are called out and the lies are laid bare for all to see, as we enter, once more, the unknown.' To view a rolling score video of this work please visit www.youtube.com/watch?v=z-0I47yfvM0 PDF download includes score and parts. Sheet music available from www.brassband.co.uk Difficulty Level: 1st Section + Length: 4.35 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 Percussion 1-4 (Part 2 optional)
In stock: Estimated dispatch 1-3 days
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£32.01Coventry Carol (Brass Band) Traditional arr. Stephen Tighe
VIEW SCORE PDF The Coventry Carol is an English Christmas carol dating from the 16th century. The carol was traditionally performed in Coventry as part of a mystery play called The Pageant of the Shear Men and Tailors. The play depicts the Christmas story from chapter two in the Gospel of Matthew: the carol itself refers to the Massacre of the Innocents, in which Herod ordered all male infants under the age of two in Bethlehem to be killed, and takes the form of a lullaby sung by mothers of the doomed children. Stephen Tighe has here given this well loved tune an update to allow it to appeal to a broad audience. 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 Percussion 1-3
In stock: Estimated dispatch 1-3 days
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£56.03A Renaissance Christmas (Brass Band) Kevin Norbury
VIEW SCORE PDF This magnificent festive suite was written by Kevin Norbury for the Pierre Elliott Trudeau High School Wind Symphony and features several well known carols set in a Renaissance style. Here it has been set for brass band. Three contrasting movements comprise the work: i. Processional (Personent hodie - On this day earth shall ring) This is a short piece imagining a torchlight Yuletide procession (perhaps bearing the traditional roasted wild boar), using a well-known Christmas melody from the large collection of music compiled in the 16th century called Piae Cantiones (1582). The tune is presented twice with accompanying, related melodic material. ii. Pastorale (Quem pastores laudavere - Shepherds sang their praises o'er him) This is a 14th-century melody which was originally collected by Michael Praetorius at the end of the 16th-century. The treatment throughout is very lyrical without overly complex harmonies. The melody is heard three times with brief linking episodes and a short coda. iii. Celebration! (In dulci jubilo - In sweet celebration - Ding-dong merrily on high)) This magnificent 13th-century melody was also a part of Michael Praetorius's collection. It is traditional associated with the words 'Good Christian men, rejoice!' The opening is a straight transcription of the great chorale prelude for organ by J.S.Bach. After the grandeur of the opening, the tune is heard in more of a 'folky' style. A lot of related melodic material is then presented before the tune Ding-dong merrily on high is heard. After another episode of previously used music In dulci jubilo reappears in a joyful conclusion to the piece. Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Difficulty Level: 3rd 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 Percussion 1-4
In stock: Estimated dispatch 1-3 days
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