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£70.00
Fire in the Sky - Peter Meechan
Fire in the Sky takes its inspiration from the stunning town of Montreux in Switzerland. I was commissioned to write the work 5 days before I visited this Montreux and was at work forming ideas for the piece as I arrived on the shore of Lake Geneva and its amazing views of the Alps.Whilst the scenery is without doubt some of the most incredible views I have ever witnessed, it was the history of the town that set Fire in the Sky in motion. Whilst there, it occurred to me that many of my musical heroes had lived or performed there, and three of them in particular had a strong connection with the town. Miles Davis, Igor Stravinsky and Freddie Mercury graced Montreux - the large convention centre, where the famous summer jazz festival is held, named its two halls after Davis and Stravinsky, and there is a quite breathtaking statue of Mercury in the town too.Each musician also commemorates an anniversary in 2011, the year of the premiere of Fire in the Sky; it is 40 years since the death of Stravinsky and both Miles Davis and Freddie Mercury died in 1991, making it 20 years since their deaths. So it seemed fitting to write a piece that in some way acknowledges them, and is a kind of personal athanksa for all they have given, and continue to give, me.The title comes from the famous Deep Purple song, Smoke on the Water - whose second line is aFire in the Skya and is a reference to the night the townas casino was set alight by a Frank Zappa fan. The piece tries to recreate the atmosphere of that night, paint a picture of fire in the sky (and smoke on the water) and also uses small anuggetsa of the music of my three greatest musical heroes, Miles Davis, Freddie Mercury and Igor Stravinsky.Fire in the Sky was commissioned by the Tomra Brass Band, Norway, and is dedicated to Stijn BerbeA and Nick Ost - both of whom are connected with the band (teaching and conducting), and both have been close friends - personally and musicaly - for many years. I am indebted to them for the opportunity to write this piece.
Estimated dispatch 12-14 working days
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£30.00Eriskay Love Lilt (with brass band) - Trad
Eriskay Love Lilt is a traditional Gaelic melody from the Western Isles of Scotland, sensitively arranged here by Andrew Duncan as a cornet solo with brass band accompaniment.This arrangement was written in 2001 for Phillip McCann and was first played by him with the Hepworth Band at the 2002 Leek Music Festival in Derbyshire, England. It has also since been recorded by Eleanor Ferguson with the Whitburn Band on Reflections of Freedom.Andrew Duncan comments: The Isle of Eriskay (Eirisgeigh) lies forty miles off the North West coast of Scotland in the North Atlantic. It is a small island, only two kilometres square and lies between the larger islands of South Uist and Barra. Eriskay is one of the islands which form the archipelago known as the Western Isles or Na h-Eileanan an Air. The Eriskay Love Lilt is a hauntingly beautiful tune which is typical of the greater number of traditional Gaelic melodies in that it is largely based on the Aeolian mode, the black notes on the piano.Also available with piano accompanimentor as a solo with brass ensemble (10-piece).
In Stock: Estimated dispatch 3-5 working days
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£30.00Highly Exalted - Tim Paton
I was commissioned to write a piece for a festival. I set a religious text, Philippians chapter 2 verses 9 to 11, for soprano voice and chamber orchestra. I later modified and adapted this piece for soprano cornet and brass band. This music is very descriptive of what is contained in the Biblical text, speaking of things both terrestrial and heavenly.
In Stock: Estimated dispatch 3-5 working days
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£44.00Songs for B.L. (Score only) - Elgar Howarth
Songs for B.L. was commissioned by BBC North for the 1995 BBC Festival of Brass and first performed by the Eikanger/Bjorsvik Musiklag Band in February that year. It was selected as the championship section test-piece for the 1995 National Brass Band Championships of Great Britain. The piece is in seven sections: Romanza; First Scherzo; Ballad; March; Second Scherzo; Romanza reprise; Coda. It is romantic but charged with highly chromatic harmony, and makes much use of chamber music textures. The work is dedicated to the composer's wife, Mary. 'The meaning of the title,' says the composer, 'is a secret, and will remain so'.
Estimated dispatch 7-9 working days
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£56.00Songs for B.L. (Parts only) - Elgar Howarth
Songs for B.L. was commissioned by BBC North for the 1995 BBC Festival of Brass and first performed by the Eikanger/Bjorsvik Musiklag Band in February that year. It was selected as the championship section test-piece for the 1995 National Brass Band Championships of Great Britain. The piece is in seven sections: Romanza; First Scherzo; Ballad; March; Second Scherzo; Romanza reprise; Coda. It is romantic but charged with highly chromatic harmony, and makes much use of chamber music textures. The work is dedicated to the composer's wife, Mary. 'The meaning of the title,' says the composer, 'is a secret, and will remain so'.
Estimated dispatch 7-9 working days
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£42.00Vortex (Score only) - Robert Simpson
Vortex - a mass of swirling fluid; the centre of the vortex is static whereas the swirling mass becomes faster as it is sucked inexorably towards the centre. This is reflected in the structure of Robert Simpson's final work for brass band. It is cast in a single fast tempo movement made up of three sections. Each section begins softly but actively and grows in volume and intensity to a great discharge of energy on a unison note. Each section is longer than then the last and each unison discharge is a semitone lower than the last. The effect is cumulative and the closing pages witness an explosion of energy from the full band gradually rbeing drawn into the unison final note. Vortex was commissioned by the IMI Yorkshire Imperial Band and first performed at the Leeds Music Festival on 6 July 1990.
Estimated dispatch 7-9 working days
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£52.00Vortex (Parts only) - Robert SImpson
Vortex - a mass of swirling fluid; the centre of the vortex is static whereas the swirling mass becomes faster as it is sucked inexorably towards the centre. This is reflected in the structure of Robert Simpson's final work for brass band. It is cast in a single fast tempo movement made up of three sections. Each section begins softly but actively and grows in volume and intensity to a great discharge of energy on a unison note. Each section is longer than then the last and each unison discharge is a semitone lower than the last. The effect is cumulative and the closing pages witness an explosion of energy from the full band gradually rbeing drawn into the unison final note. Vortex was commissioned by the IMI Yorkshire Imperial Band and first performed at the Leeds Music Festival on 6 July 1990.
Estimated dispatch 7-9 working days
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£29.92How Shall I Woo Thee (Cornet Solo with Brass Band) Coleridge-Taylor arr.Bushnell
The 7 African Romances, Op. 17 for voice and piano has words by Paul Laurence Dunbar and music by Samuel Coleridge-Taylor. Published in 1897, it comprises of 7 songs, "An African Love Song", "A Prayer", "A Starry Night", "Dawn", "Ballad", "Over the Hills" and "How Shall I Woo Thee?", of which the last is arranged here.This arrangement was requested by Besses o' th' Barn Band for the The Samuel Coleridge-Taylor Festival held in Liverpool on 11 October 2025. The song is wonderfully lilting with moments to indulge in the music.This arrangement is for the UK-style brass band and either solo B-flat cornet, solo E-flat soprano cornet or soprano singer. It also has alternative parts for horns in F and bass-clef lower brass. A recording of the original song can be found here: https://www.youtube.com/watch?v=tglGpaBsWOo Duration: Approx. 3.10 minutes Difficulty Level: 4th Section + This PDF download includes the full score and parts. Includes alternative parts for soloist in Eb, horns in F and lower brass in bass clef. Sheet music available at www.brassband.co.uk (UK) or www.cimarronmusic.com (USA) Instrumentation: Cornet Soloist Bb 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
In Stock: Estimated dispatch 1-3 working days
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£85.00
The Alchymist's Journal - Kenneth Hesketh
The Alchymist's Journal (Variants for Brass Band) was commissioned by Faber Music Band Consultant Paul Hindmarsh in 2001, with the support of the Brass Band Heritage Trust, as a substantial concert/contest challenge that would be within the compass of the country's most able youth and first section bands. It received its first performance in January 2002, by Black Dyke Band under Nicholas Childs, as part of the Royal Northern College of Music Festival of Brass.Since its original publication, composer Kenneth Hesketh has made a number of revisions to the work. Most of these were included in the recording made by Foden's Band (Bramwell Tovey) for NMC Recordings (NMC D142). This definitive new edition, including all the composer's revisions, has been specially prepared for the 2015 National Brass Band Championships of Great Britain and is the text that all bands performing will be required to use.Brass Band Grade 5: 1st SectionDuration: 12 minutes.
In Stock: Estimated dispatch 1-3 working days
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£35.00Ascension - Lucy Pankhurst
A major work written for the RNCM Brass Festival Competition 2005, and inspired by the nature of Ascension - creating a Musical depiction of the spiritual journey towards enlightenment, sanctuary and ultimate inner peace.As aninitial muse for this work, the 'Tibetan Singing Bowl' is utilised with the Brass Band in order to represent this path to Serenity, together withBaoding Balls(Chinese Health Balls) to mark the point of Final Ascension.Programme notes from the composer, Lucy Pankhurst:Ascension is a Musical depiction of the Spiritual Journey towards enlightenment, sanctuary and ultimate inner peace.As my initial muse for this work, the Singing Bowl is utilised with the Brass Band in order to represent this path to Serenity. "Tibetan" Singing Bowls date back to the 8th Century A.D., originating in the pre-Buddhist shamanic Bon Po culture in the Himalayas and are still used in modern Monasteries. The original purpose of them still remains a mystery, with accounts stating that it is forbidden to disclose the true function of the Bowls, as the "secrets of sound" yield so much Power, that they must be kept hidden.Listening to the tones created by the Singing Bowl effectively silences the internal dialogue of the listener, making it an excellent tool for Meditation, Centering and entering trance-like states. In Buddhism, as with many cultures, sound is an important part of Spiritual Practice. There are 9 methods to reach Enlightenment in the Buddhist Doctrine ; the seventh is SOUND.These Bowls are used by Healers in a similar way to help balance the body's residual energies. The Bowls are usually made from seven different sacred metals, intended to correlate directly to the seven sacred "Planets" : GOLD (Sun), SILVER (Moon), MERCURY (Mercury), COPPER (Venus), IRON (Mars), TIN (Jupiter), ANTIMONY (Saturn). Any one Bowl can create up to seven different frequencies (tones) simultaneously. In Healing, the Singing Bowl is played whilst balanced on the palm of the hand, struck three times to stabilise the surrounding energies, before rotating the wooden "beater" around the outer circumference of the Bowl to create the "singing" effect.I have included an optional Vibraphone part (to be played with a Double Bass Bow) with Tubular Bells, to be used only in performances where a Singing Bowl cannot be acquired. However, a traditional Bowl should be used whenever possible, to create this specific and unique sound.Baoding Balls or Chinese Health Balls are also utilised in this work. Their appearance in the Music here, however, is to mark the point of Final Ascension, where the music reaches its ultimate goal. These delicate cloisonne iron Balls are said to stimulate the acupressure points on the hand, thus improving the Chi and Energy Paths (Life Force) throughout the entire body. The delicate "tinkle" produced by these spheres is hypnotic and captivating. For this reason, where no Baoding Balls are obtainable for performance, only delicate metallic percussion should be used in replacement (i.e. Crotales, Antique Cymbals or (liberal) single strikes on a Triangle etc.). Bell Trees, Wind Chimes and Cow Bells should not be used.As in many cultures, the number three is important in Ascension, as it represents not only the purification from the Singing Bowl, but also it is a number of confirmation, reiterated throughout the music in the metallic percussion in addition to the Brass, re-affirming the correct path to Enlightenment.
In Stock: Estimated dispatch 3-5 working days
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