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£69.99Willow Pattern - Philip Harper
Composed in 2009 for Nicholas Childs and the Black Dyke BandThis piece tells the Willow Pattern legend through music. Several leitmotifs are used both for the different characters and also for some of the important emotions in the tale. Additionally, Knoon-se's part is mainly played by the flugel horn, Changby the euphonium, the Mandarin by the Eb Bass and the Duke Ta-jin by the trombone. The Willow Pattern LegendOnce, in ancient China, there lived a wealthy and powerful Mandarin who had a beautiful daughter, Knoon-se. She had fallen in love with Chang, a humble accountant, which angered her father who imprisoned her in the Pavilion by the river with only theexotic birds for company. She learnt that the Mandarin planned to marry her to the pompous Duke Ta-jin and that the wedding would take place on the day the blossom fell from the willow tree, so she sent Chang a message: "Gather thy blossom, ere it bestolen". The Duke arrived by sea amid great fanfare when the tree was heavy with bud, and nights of magnificent banquets followed. After one such occasion when the Mandarin slept, Chang crept over the crooked fence and tiptoed into the Pavilion to rescueKnoon-se, but as they escaped the alarm was raised. They fled over the bridge with the Mandarin close on their heels brandishing his whip.They managed to escape by boat to a secluded island where they lived happily for a time. Meanwhile, the Mandarin learned of their refuge and, intent on revenge, he ordered his soldiers to kill them. As Knoon-se and Chang slept at night, the men setfire to the pagoda in which they lived and the lovers perished in the flames. However, the Gods, moved by the lovers' plight, transformed their souls into two turtle-doves which rose from the charred remains, soaring above the Earth, symbolising eternal happiness. Willow Pattern is dedicated to the memory of Jean Harper who passed away as I was completing the piece and who was a great collector of porcelain and china-ware. NOTES ON PERFORMANCEMute Requirements:Metal mutes soprano cornet, repiano cornet, 2nd cornets, 3rd cornets (6 in total) Cup mutes all cornets and trombones (10 + 3) Harmon mutes soprano cornet, solo cornets, repiano cornet (6) Percussion Requirements:There are two parts for percussion on the score. The minimum requirements are as follows: 2 players - Timpani, 2 Large tom toms, 2 Wood Blocks, Triangle, Sleigh Bells, Whip, Clash Cymbals, Suspended Cymbal, Hi-hat, Glockenspiel, Xylophone, Tam tam (or susp. cym.) For performances with extra resources, and to achieve closer authenticity, the full requirements are as follows: 3 players - Timpani, 3 Taiko Drums played with thick wooden sticks (or Large tom toms), 2 Wood Blocks, Triangle, Chinese Bells (or Sleigh Bells), Whip, Clash Cymbals, Chinese Cymbals (small clash cymbals approx 12"), Suspended Cymbal, Glockenspiel,Xylophone, Tam tam
Estimated dispatch 5-14 working days
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£44.95Princethorpe Variations (Brass Band - Score and Parts) - Downie, Kenneth
Colourful harmony, rhythmic flair and melodic invention are the hallmarks of this excellent set of variations by Kenneth Downie, based on the well known church tune, Princethorpe.This major work demonstrates the well-known characteristics of the composer: colourful harmony, rhythmic flair and melodic invention, all encapsulated in scoring which is engulfing both to players and listeners alike. Following a presentation of the theme there are five variations culminating in what can be described as either a finale or coda.Theme. The composer shows his originality in the harmonic sense of this introduction. Perhaps it could be suggested that over-indulgence of rubato may be a temptation to be avoided.Sections A to F. Relentless rhythmic drive is of paramount importance in this first variation. Conscientious observance of dynamics is of course an essential requirement in conveying the exciting quality of the music; there are moments of sudden contrast of which all will need to be aware. Moving between the time-signatures of 5/4 and 6/4 these sections are built from strong easily-identifiable fragments of the theme. These is a significant increase in temp at letter F which will further the exciting impact of the music.Sections G & H. In a pastorale style this short, gentle variation affords a contrast in style between the previous and succeeding ones. The gentle undulating character of the melodic lines is governed by the Allegretto grazioso directive.Sections I to M. Commencing two bars before letter I the music is now exuberant and the tempo and style is that of a march in compound time. In this exhilarating movement there are moments of contrast and indeed of delicacy which are a foil to the more energetic moments. Rhythmic control will be essential to maintain a consistent tempo. As elsewhere in the work, the percussion section will contribute much to the success of the performance there are bars where this section alone is heard and there are important entries for glockenspiel.Sections N & O. With emotional content this Adagio variation has the first two notes of the melody as its melodic impetus. Apart from just over two bars at O (where there is an interpolatory phrase from Cornets and Trombones), the melodic line is entrusted to the plaintive sounds of the horn section. Cornets and Trombones provide a change of tone colour at the beginning of section O. Under a poco rall, this very expressive variation is concluded; there is an important link supplied by Eb Bass.Sections P & Q. A lively march-tempo is launched immediately and these sections are in the nature of an introduction to the final variations. There is a quickening of pace at Q which assists the generation of excitement which should be an essential part of the performance. Solo Cornets introduce a melodic line at Q which anticipates the compound time of the following section.Sections R & S. The Solo Cornet theme of the previous section is now a contrapuntal line accompanying the theme tune. With an elongation of the notes in the melody, the conductor will need to call on the sustaining powers of the band and at no time should the interesting accompanying lines be allowed to detract from the sonorous presentation of the basic theme.Sections T, U & V. Following a poco rit, the finale begins at letter T with the directive, molto vivace. There is much detail to be rehearsed, not least being the dynamic contrasts which are encountered. As throughout the work, the listener should have no difficulty in identifying the thematic sources of the composer's music.
Estimated dispatch 7-14 working days
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£22.50
Princethorpe Variations (Brass Band - Score only) - Downie, Kenneth
Colourful harmony, rhythmic flair and melodic invention are the hallmarks of this excellent set of variations by Kenneth Downie, based on the well known church tune, Princethorpe.This major work demonstrates the well-known characteristics of the composer: colourful harmony, rhythmic flair and melodic invention, all encapsulated in scoring which is engulfing both to players and listeners alike. Following a presentation of the theme there are five variations culminating in what can be described as either a finale or coda.Theme. The composer shows his originality in the harmonic sense of this introduction. Perhaps it could be suggested that over-indulgence of rubato may be a temptation to be avoided.Sections A to F. Relentless rhythmic drive is of paramount importance in this first variation. Conscientious observance of dynamics is of course an essential requirement in conveying the exciting quality of the music; there are moments of sudden contrast of which all will need to be aware. Moving between the time-signatures of 5/4 and 6/4 these sections are built from strong easily-identifiable fragments of the theme. These is a significant increase in temp at letter F which will further the exciting impact of the music.Sections G & H. In a pastorale style this short, gentle variation affords a contrast in style between the previous and succeeding ones. The gentle undulating character of the melodic lines is governed by the Allegretto grazioso directive.Sections I to M. Commencing two bars before letter I the music is now exuberant and the tempo and style is that of a march in compound time. In this exhilarating movement there are moments of contrast and indeed of delicacy which are a foil to the more energetic moments. Rhythmic control will be essential to maintain a consistent tempo. As elsewhere in the work, the percussion section will contribute much to the success of the performance there are bars where this section alone is heard and there are important entries for glockenspiel.Sections N & O. With emotional content this Adagio variation has the first two notes of the melody as its melodic impetus. Apart from just over two bars at O (where there is an interpolatory phrase from Cornets and Trombones), the melodic line is entrusted to the plaintive sounds of the horn section. Cornets and Trombones provide a change of tone colour at the beginning of section O. Under a poco rall, this very expressive variation is concluded; there is an important link supplied by Eb Bass.Sections P & Q. A lively march-tempo is launched immediately and these sections are in the nature of an introduction to the final variations. There is a quickening of pace at Q which assists the generation of excitement which should be an essential part of the performance. Solo Cornets introduce a melodic line at Q which anticipates the compound time of the following section.Sections R & S. The Solo Cornet theme of the previous section is now a contrapuntal line accompanying the theme tune. With an elongation of the notes in the melody, the conductor will need to call on the sustaining powers of the band and at no time should the interesting accompanying lines be allowed to detract from the sonorous presentation of the basic theme.Sections T, U & V. Following a poco rit, the finale begins at letter T with the directive, molto vivace. There is much detail to be rehearsed, not least being the dynamic contrasts which are encountered. As throughout the work, the listener should have no difficulty in identifying the thematic sources of the composer's music.
Estimated dispatch 7-14 working days
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£59.99
Marching Blues - Hayato Hirose
Marching Blues was written in the blues and swing-jazz style of the great big bands. It is an ideal show march that can be used for encores, popular performances, family concerts and much more. As an added entertaining feature why not get your Eb bass player to stand for his/her 28-bar solo! From small ensembles to large bands, Marching Blues will bring great joy to all generations of performers and audiences on many occasions.
Estimated dispatch 5-14 working days
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£59.99Marching Blues (Brass Band - Score and Parts)
Marching Blues was written in the blues and swing-jazz style of the great big bands. It is an ideal show march that can be used for encores, popular performances, family concerts and much more. As an added entertaining feature why not get your Eb bass player to stand for his/her 28-bar solo! From small ensembles to large bands, Marching Blues will bring great joy to all generations of performers and audiences on many occasions. 04:00
Estimated dispatch 7-14 working days
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£11.97I was glad (Brass Band with Organ - Additional Parts) Parry trs. Wainwright
I was glad was originally a choral introit which is a popular piece in the musical repertoire of the Anglican church. It is traditionally sung in the Church of England as an anthem at the coronation of the British monarch, most recently that of King Charles III in May 2023. This transcription for brass band combines the choral and accompaniment parts meaning it is playable as a standalone arrangement. An optional organ part is included to augment the brass. The cornet section is divided into two choirs to create an antiphonal effect. The 'Vivats' are included in this transcription but an optional cut is provided for that section. To view a follow-the-score video please visit https://www.youtube.com/watch?v=sjeMdxANUUE PDF download includes additional parts. Purchase the full score and brass band parts here. Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Difficulty Level: 2nd Section + Parts included in this download: Solo Horn F 1st Horn F 2nd Horn F 1st Baritone Bass Clef 2nd Baritone Bass Clef 1st Trombone Bass Clef 2nd Trombone Bass Clef Euphonium Bass Clef Tuba 1 Bass Clef (Bass Eb equivalent) Tuba 2 Bass Clef (Bass Bb equivalent)
In stock: Estimated dispatch 1-3 days
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£30.00Roots - Lucy Pankhurst
Commissioned by Katrina Marzella in 2008, this modern 'duet' for Baritone and Euphonium soloists with brass band accompaniment has been inspired by 'nature and environment' as its primary muse. The music takes the listener through 7 stages of environmental atmosphere, in its combination of sounds and effects. It is a very uplifting work and with the back-story in mind (see programme notes below), it makes for an incredibly effective concert feature.Programme notes from the composer, Lucy Pankhurst:There are 7 main sections in the piece :RainGerminationGrowthTransionSunshineRainstormRestThe work begins with Rain, symbolised by the rainstick and 'rain sounds' in the brass , which allows the themes to germinate. The 'roots' of the music themselves, are firmly established in the tonic (root Eb) and 5ths in the low brass, from which the solo lines eventually grow, using triads and 5ths.During Growth, the solo baritone and euphonium begin with separate melodies which begin to twist around each other (much like tree roots), interlocking to produce harmonies and counterpoint, complimenting one another and firmly keeping the music in Eb major. Muted cornets and trombones continue to play overlapping semiquavers, reflecting the raindrops as they fall from the trees and leaves.A brief interlude, featuring brass sextet drives the music back to its Germination stage - here, named Transion, as it grows once more, evolving into something new. The Sunshine section is a dance. Moving rapidly through different keys, the warm sunlight catches on the dewy foliage, creating dazzling moments of clarity and beauty.However, the change in conditions also lead to brief moments of uncertainty, as the various creatures tentatively reappear from their shelter to bask as the earth is warmed. Birdsong can be heard in the solo lines as the entire band join in the celebrations.The jollity does not last long, however, as a Rainstorm, more violent than the last , ensues - stopping the dance in its tracks. The tam-tam and bass drum signify thunder, crashing into the music abruptly. However, the music still survives and re-emerges from the storm, delicately but securely establishing itself into a new key (C major), before softly concluding with the two soloists in rhythmic unison as the rain subsides and the world is at Rest.
Estimated dispatch 7-14 working days
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£35.93Miserere mei, Deus (Brass Band) Gregorio Allegri arr. Espen Haukus
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 days
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£63.88We Seven (Brass Band) Derek Jenkins
We Seven, the title of this work, comes from a book by the same name written by the United States's first astronauts. The composer writes: 'In 1959, the United States entered the space race by starting a programme whose main aims included sending a solo astronaut into space and recovering him safely. Project Mercury, as this programme was so called, recruited the first seven American astronauts and successfully sent six of them into space. These men were Scott Carpenter, Gordon Cooper, John Glenn, Gus Grissom, Wally Schirra, Alan Shepard, and Deke Slayton, and collectively they became known as the 'Mercury Seven.' Through their efforts and those of countless others, the United States Space Program accomplished much with these six flights, including successfully sending an astronaut into space, putting a man in orbit, and keeping him up there for more than 24 hours. In 1962, shortly after Glenn and Carpenter's orbital flights, the 'Mercury Seven' co-wrote the book We Seven and throughout it, the astronauts discuss the events leading from their selection into the programme up through Carpenter's flight in May of 1962. The primary material for the work comes from two sources: the use of musical cryptograms to encode the astronauts names and initials into pitches and the aria 'Un bel di vedremo' from Giacomo Puccini's opera, Madame Butterfly. The inclusion of the latter comes directly from one of Glenn's chapters in the book. Together with a couple of the other astronauts, he would often listen to the opera to unwind from a long day of training. I would like to think that as he was orbiting the Earth that this opera, particularly this aria, would be running through his mind.' This work commemorates the Project Mercury on the 50th anniversary of its conclusion and was written for Joseph Parisi and the University of Missouri-Kansas City Wind Ensemble. This version for brass band has been prepared by the composer for the Fountain City Brass Band. To view a video of Fountain City Brass Band performing the work please visit: www.youtube.com/watch?v=yD3sBWhGkOo Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Difficulty Level: 1st Section + Instrumentation: 1 Soprano Cornet (Eb) 9 Cornets (Bb) [Both 3rd Cornets double Crystal Glasses] 1 Flugelhorn 3 Tenor Horns (Eb) [2nd Horn doubles Crystal Glasses] 2 Baritones (Bb) 2 Trombones (Bb) 1 Bass Trombone 2 Euphoniums (Bb) 2 Basses (Eb) 2 Basses (Bb) 4 Percussion
In stock: Estimated dispatch 1-3 days
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I See the Fatherland | Dario Salvi
Dario Salvi has reconstructed Franz von Suppes operetta 'Die Afrikareise' (A Trip to Africa) in a ground breaking project with Winsconsin University and the Strauss Society, which will see the operetta being performed in English for the first time in 100 years. This march for Brass Band brings together themes from the operetta under the title 'I See the Fatherland'[su_quote cite="Dario Salvi 2015]After almost two years of work on the score of the Operetta, during which I extensively worked on preparing a full orchestral score with all the singing parts in English, it is almost time to stage the work. The music from 'A Trip To Africa' is full of amazing melodies and interesting ideas. This march for Brass Band is a collection of some of the themes from the Operetta: The "Entrance of Titania" Fanfare leads to one of the most recurring themes, where the singer declares their desire to go back to their Fatherland (in this case Naples) after their visit to the very exotic Cairo; the starting point of their adventure into the heart of the Desert. Exotic sounding yet very Viennese rhythms are the main characteristic of this march. [/su_quote] Instrumentation: Soprano, Solo, 2nd and 3rd Cornets Flugelhorn Solo, 1st and 2nd Tenor Horns 1st and 2nd Baritone 1st, 2nd and Bass Trombones Euphonium Eb and Bb Basses Percussion: 1. Snare Drum 2. Bass Drum, Cymbal, Triangle
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