Results
-
£55.00Triumph Series Brass Band Journal, Numbers 1359 - 1362, March 2024
1359: Festival March - Coastal Celebration (Sam Creamer)Coastal Celebration was commissioned in 2019 by Nambour Salvation Army Band for the Corps' 125th anniversary celebrations. Nambour was the birthplace of The Salvation Army's work on the Beautiful Sunshine Coast in Queensland, Australia. Firring with this theme are subtle tributes to iconic Sunshine Coast landmarks, referenced with small phrases of popular secular melodies intertwined with the main tunes What a faithful God (S.A.S.B. 378) and All through the years (S.A.S.B. 826).1360: He's always been faithful (Craig Woodland)This meditative selection is an arrangement of the song by American singer and record producer Sara, Groves, He's always been faithful. The words express the joy and thankfulness in having a relationship with Jesus and knowing his presence in life. The melody and motifs of the traditional hymn, Great is thy faithfulness (S.A.S.B. 26), are heard throughout.1361: Christ's living water (Dean Jones)Christ's sacrificial love has been beautifully portrayed through the imagery of water in many songs, none more so that the skilfully crafted words we find in the chorus of I know a fount (S.A.S.B. 197), written by Oliver Cooke. To enhance the sentiments expressed, the pure sounds derived from Handel's Water Music fit perfectly in terms of music and imagery.1362: March - Fear Not! (Avelan Ntsiete)The Salvation Army continues to proclaim its music ministry in all corners of the world and, with this item under review, we introduce a new composer, originally from Congo Brazzaville, Central Africa. Avelan Ntsiete is currently a Bandsman at the Lilas Corps in Paris but has previously served in the Congo Brazzaville Territorial Band. This march, in traditional format, was written for an evangelistic campaign in Kindamba, where civil war has brought upheaval to the area and uncertainty for the local Salvationists. The composer was part of a small brass group which travelled for over 24 hours by truck and on foot to reach Kindamba and bring encouragement to the Salvationists within that community.
Estimated dispatch 7-14 working days
-
£127.95Music of the Angels (Symphonic Brass Ensemble - Score and Parts)
In 1998 Gregson was commissioned by conductor Martyn Brabbins to write a short concert opener with choir to mark his debut as Music Director of the Huddersfield Choral Society. Entitled ...and the seven trumpets... this ten minute flourish is founded on a verse from Chapter 8 of the Revelation To John (The Apocalypse), the last book in the Bible: 'and I saw the seven Angels which stood before God: and to them were given seven trumpets'. The performance employed the full power of the Huddersfield Town Hall organ and the brass section of the BBC Philharmonic, including seven trumpets and four horns placed strategically around hall.The following year, when Gregson received a commission from the Cheshire-based Foden's Brass Band (conducted at that time by Nicholas Childs) for a work to mark its centenary in 2000, he turned to the first portion of ...and the seven trumpets... as the basis for an ambitious celebratory work entitled The Trumpets of the Angels. "The opportunity to create an extended work which would break out of the brass band mould was an important milestone for me," the composer says. In 2015 he was asked by Nicholas Childs to create a new performing edition without organ for the Black Dyke Band. This received its first performance in April 2016 at the European Brass Band Festival in Lille. In 2018, Gregson revisited the music for a third time, returning the opening fanfares to orchestral brass and transforming substantial portions of the 'Black Dyke' version to create Music of the Angels, a dramatic canvas for symphonic brass and percussion.An array of bells and gongs offer an unmistakable key to the source of Gregson's inspiration. Inscribed In tribute to Olivier Messiaen, the work's principal material and its sound world, but crucially not the underlying musical processes, are influenced by Messiaen's masterpiece for wind and percussion, Et exspecto ressurectionem mortuorum (1964). Music of the Angels begins with braying of horns suggestive of the start of an ancient ritual. Six 'angel' trumpeters, set behind the ensemble, answer in sequence, with the evocative sound of tam-tams creating the Messiaen-like aura. Once the horns have reached the performing space, four of the trumpeters deliver highly contrasting fanfare cadenzas. At the climax of this episode, the individual fanfares are presented together, as if, perhaps, to reflect the Biblical writer's apocalyptic visions of hail, fire, seas of blood and the cataclysmic destruction of man and beast.This powerful vision of death and destruction gives way to a prayerful lament, re-imagining a sung Kyrie Eleison from the 'Black Dyke' edition, with flugel horn and euphonium obligati. The hushed atmosphere is broken by tenor and side drums, and trumpets five and six, which gallop away like the Horsemen of the Apocalypse. In the biblical account their steeds had 'heads like lions with fire and smoke and sulphur issuing from their mouths'.As the reverberation of a dramatic climax dies we hear the entry of the seventh trumpet, from 'on high', blazing forth with a version of the main that extends across the entire compass of the instrument - almost three octaves. Supported by a 'holy trinity' of gongs, an 'epic' final cadenza introduces new material which is further developed in a frenetic final section. This is announced by two sets of timpani, to the left and right. Braying brass (euphoniums and horns) once more adds an air of foreboding. As the music builds towards a magisterial conclusion, the Messiaen-inspired tritones of the principal motif are smoothed out into perfect 5ths and combined with the earlier material in a full-voiced chorale, over which the seventh trumpet blazes in triumph.- Programme note by Paul HindmarshScored for1 Trumpet in E flat (Trumpet 5)6 Trumpets in B flat (Trumpet 4 doubling Flugel Horn)4 Horns in F3 Tenor Trombones1 Bass TromboneEuphonium2 Tubas2 Timpani (Percussion 3 doubles Timpani 2)Percussion (3 players): 3 Tam-tams, 3 Suspended Cymbals, Bass Drum, Tenor Drum, Snare Drum, Tubular Bells.Duration: 16.00
Estimated dispatch 7-14 working days
-
£70.00General Series Band Journal April 2017 Numbers 2166-2169
Festival March - Faith on track (Andrew Blyth)Originally written for the Peterborough Citadel Band where the composer is the Bandmaster. This march features 'This train is bound for Glory' and 'The Gospel Train' in reference to the association with the City of Peterborough and its strong links with the Railway. Also found is the song 'Share your faith' which speaks of the evangelistic nature of the Corps and its people.Flashpoint (Martin Cordner)Written for The Melbourne Staff Band and featured at the Boundless Congress in 2015, the 'John Williams type' main theme is supplemented with an exciting setting of the song 'I'll stand for Christ'.Wells (Sam Creamer)A simple hymn tune arrangement based on the title of the work.All your anxiety (Brian Hogg)The tune 'All your anxiety' has been given a developed and thoughtful setting by Australian Salvationist Brian Hogg.
Estimated dispatch 7-14 working days
-
£60.00General Series Band Journal August 2014 Numbers 2134-2137
No. 2134 Festival March - Troops Salute (Paul Sharman)Written to mark the retirement of Major John Mott as Bandmaster of the Household Troops Band in 2010, this march features the tunes 'Are you washed?' and 'There's only one flag for me'. No. 2135 Songs of Salvation (Andrew Mackereth)This piece was written for Haaglanden Band in the Netherlands and contains some old Salvation Army Songs; 'Ring the bell, watchman' (T.B. 776), 'Make no delay' (T.B.730), 'Room for Jesus' (T.B. 395), 'Tell me the old, old story' (T.B. 265) and 'Praise God, I'm saved' (T.B. 770).No. 2136 Shepherd's Carol (Dean Jones arr. Kenneth Downie)Originally published in November 1955, this lovely carol was written by father and son, Dean and Henry Goffin, both of whom were Salvation Army officers. Commissioner Sir Dean Goffin was awarded his kinghthood in the Queen's Honours list of 1983No. 2137 On High! (Martin Cordner)Taking its inspiration from the world of rock music, this piece features the song, 'Lord, I lift your name on high'.
Estimated dispatch 7-14 working days
-
£87.95Masquerade (Score and Parts)
The first performance took place on the 4th. September 1993 at the Free Trade Hall in Manchester during the British Open Brass Band Championships.Note by Philip Wilby:Masquerade is a centenary tribute to Verdi's last opera Falstaff and takes its final scene as the basis for my own piece. Thus I have used some of Verdi's music, and some of Shalespeare's plot, and woven them into a fabric with highly demanding music of my own to produce a work in the great tradition of operatically-based brass band pieces. Such scores date from the very beginnings of band repertory and are often not direct arrangements in the established sense but new compositions produced in homage to a past master. They may still offer performers and audience alike something familiar interwoven with something new. My own piece reuses some elements from the original story: . .Falstaff has been caught in a web of his own lies by the ladies of the town, who propose to teach him a lesson. The story opens at night in Windsor Great Park. The plotters, variously disguised in Hallowe'en fashion (as fairies,elves hobgoblins etc!) assemble in the park to await Falstaff's arrival (musicologists will, perhaps, note a rare use of 'large bottle in F' being used during this scene of suppressed alcoholic revelry!). Falstaff's companions, Bardolph,Piston and Robin, enter (represented here by the three trombones!), and are variously abused by the masqueraders. At the height of the Tout an alarm sounds and Falstaff (euphonium cadenza) enters as Midnight strikes. From a safe hiding place he watches as the disguised Nanetta (principal comet) sings a serene solo as the moon appcars above the trees. With sudden force the others seize him and drag him from his hiding place. As in the traditional game 'Blind Man's Buff', he is roughly turned seven times (a sequence of solo accelerandi) until, at last, he recognizes his assailants as his sometime friends. Far from complaining, Verdi's character concludes the opera with a good-humoured fugue on the words.... 'All the World's a Joke... Every mortal laughs at the others, But he laughs best who has the final laugh. Philip Wilby.
Estimated dispatch 7-14 working days
-
£44.95Masquerade (Score Only)
The first performance took place on the 4th. September 1993 at the Free Trade Hall in Manchester during the British Open Brass Band Championships.Note by Philip Wilby:Masquerade is a centenary tribute to Verdi's last opera Falstaff and takes its final scene as the basis for my own piece. Thus I have used some of Verdi's music, and some of Shalespeare's plot, and woven them into a fabric with highly demanding music of my own to produce a work in the great tradition of operatically-based brass band pieces. Such scores date from the very beginnings of band repertory and are often not direct arrangements in the established sense but new compositions produced in homage to a past master. They may still offer performers and audience alike something familiar interwoven with something new. My own piece reuses some elements from the original story: . .Falstaff has been caught in a web of his own lies by the ladies of the town, who propose to teach him a lesson. The story opens at night in Windsor Great Park. The plotters, variously disguised in Hallowe'en fashion (as fairies,elves hobgoblins etc!) assemble in the park to await Falstaff's arrival (musicologists will, perhaps, note a rare use of 'large bottle in F' being used during this scene of suppressed alcoholic revelry!). Falstaff's companions, Bardolph,Piston and Robin, enter (represented here by the three trombones!), and are variously abused by the masqueraders. At the height of the Tout an alarm sounds and Falstaff (euphonium cadenza) enters as Midnight strikes. From a safe hiding place he watches as the disguised Nanetta (principal comet) sings a serene solo as the moon appcars above the trees. With sudden force the others seize him and drag him from his hiding place. As in the traditional game 'Blind Man's Buff', he is roughly turned seven times (a sequence of solo accelerandi) until, at last, he recognizes his assailants as his sometime friends. Far from complaining, Verdi's character concludes the opera with a good-humoured fugue on the words.... 'All the World's a Joke... Every mortal laughs at the others, But he laughs best who has the final laugh. Philip Wilby.
Estimated dispatch 7-14 working days
-
£44.95My Fair Lady Selection
Includes: With a Little Bit of Luck; On the Street Where You Live; Wouldn't It Be Loverly; Get Me to the Church on Time; I've Grown Accustomed to her Face; I Could Have Danced All Night.
Estimated dispatch 7-14 working days
-
£30.00Bilby Bomp - Beginner Brass Band - TSM002 - P. W. Jones
COMPOSER: P. W. Jones"Bilby Bomp" has been written as an early work for the beginner Band. It is a sectional arrangement with no divisiwithin parts or sections i.e. no 1st. and 2nd.parts.Melody sheets in all pitches have been included to enable you to give the melody to any player to assist with managing missing players.The Bilby, of approximately 55cm plus a 29cm tail, is the largest member of the family of marsupials called Bandicoots.It is found in North West Australia and is now on the endangered species list.It is a nocturnal animal relying on smell and feel to move about looking for food.Its rear legs work the same as a kangaroo therefore it is always moving about in small bomps.
In Stock: Estimated dispatch 3-5 working days
-
£37.23Three Carols at Midnight (Brass Band) Martin Cordner
Rooted in the sacred stillness of a French village on Christmas Eve, this suite by Martin Cordner draws upon traditional carols that have echoed through centuries of candlelit chapels and midnight vigils. Each movement offers a window into the Nativity story: I. Mystery: Noel Nouvelet (Christmas Comes Anew) opens with modal wonder, evoking the anticipation of Christ's coming and the quiet awe of Advent. II. Cradle: Entre le boeuf et l'ane gris (Between the Ox and the Grey Donkey) rests in pastoral tenderness, where the newborn Savior lies between humble beasts, watched over by angels and the Virgin. III. Joy: Il est ne, le divin enfant (He is born, the Divine Infant) bursts forth in celebration, proclaiming the divine birth with rustic dance and jubilant praise. Together, these carols form a musical triptych - moving from mystery to intimacy to exultation. Three Carols at Midnight invites listeners to step into the hush of a French Noel, where the sacred story is told not only in word, but in melody, memory, and light. All proceeds support the mission and ministry of The Salvation Army Delaware Command, USA. To view a rolling score video of the work please visit www.youtube.com/watch?v=fUcCluBS18Q Difficulty level: 4th Section + Duration: approx. 5.00 minutes This PDF download includes parts and score. Sheet music available at www.brassband.co.uk or www.durhammusicshop.co.uk (UK) or www.cimarronmusic.com (USA) Instrumentation: Soprano Cornet Eb 1st Cornet Bb 2nd Cornet Bb 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 1-2 Glockenspiel
In Stock: Estimated dispatch 1-3 working days
-
£33.51Je te veux (Brass Band) Satie arr. Rob Bushnell
Je te veux, or I Want You, is a valse chantee (sung waltz) by the French composer Erik Satie, with lyrics by Henry Pacory. It was written for Paulette Darty, who first sang it in 1903 at La Scala, Paris, with Satie accompanying. There are various versions that Satie produced, the original for piano and voice, a version for brass 'orchestra', for full orchestra (where a trio section was added), and a version for solo piano (but including the new trio section). This arrangement is for the UK-style brass band, with alternative parts for horns in F and bass-clef lower brass, and is of the longer version (with the trio section). As a result, it lends itself to being performed in a various of ways, with the ensemble has the option of selecting the part of it compound ternary form to play: (A-B-A)(C-D-C)(A-B-A). A recording of the original composition can be found here: www.youtube.com/watch?v=FA3JJdmwJU8 Difficulty Level: 4th Section + Duration: 4 or 5 minutes (depending on tempo and without any cuts) PDF download includes parts and score. Sheet music available at www.brassband.co.uk (UK) or www.cimarronmusic.com (USA) 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 Drum Kit Auxiliary Percussion (Glockenspiel, Cymbal & Triangle)
In Stock: Estimated dispatch 1-3 working days
