Results
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£58.60PORTRAIT OF RAY CHARLES, A (Brass Band) - Charles, Ray - Smith, Sandy
Grade: Medium. Includes: Hallelujah I Love Her So; Georgia on My Mind; Hit the Road Jack; I Just Can't Stop Loving You.
Estimated dispatch 7-14 working days
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£90.10
LION KING, The (Brass Band) - John, Elton - Fernie, Alan
Soundtrack highlights featuring five of the main themes: The Circle of Life; I Just Can't Wait to be King; Be Prepared; Can You Feel the Love Tonight; Hakuna Matata. Grade: Medium. Duration 8'45"
Estimated dispatch 7-14 working days
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£149.40Viking Saga - Ray Farr
"Viking Saga" was inspired by my conducting engagements in Norway in the 1980s. Among them was a visit to the Flekkefjord Pike Korps who asked me to write a piece for them. I had just written "Adventures in Brass" which was very popular, particularly with younger bands, so I decided to pursue the creative energy. My teacher, at that time, was Professor Edward Gregson who encouraged me to develop my ideas into a full-scale work. The piece received a few performances in this version but neither I, nor my teacher, were satisfied so the manuscripts lay dormant. In the summer of 2002 a band from Switzerland- Cordula Brass Baden and Christoph Moor, who had played the piece under mydirection in the Swiss National Youth Band, commissioned me to finish the work and make the changes that, I felt, were needed. In 2016 the Tonsberg Wind Band, from Norway, commissioned a wind band version for their performance in the Norwegian Championships held in Trondheim 2017.
Estimated dispatch 5-14 working days
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£115.60Griffenfeldt - John Philip Hannevik
Here we present "Griffenfeldt, a folk-dance in the style of a Norwegian reinlender.This arrangement can be used as the first item in a concert, or after an interval.The musicians can come on stage as they join in. That is why two of the measures are notated "repeat till ready", here you have to wait until everyone is in place! If everyone is ready from the start, the repetition can be omitted.Be sure to play with a bouncy but singing style, not with short and harsh articulations.Do the trills on the beat, but these can also be omitted if it makes it too difficult.To bring out the folk music style a little extra, you can ask the musicians to play on the "backbeat", i.e. emphasize the last half of each quarter-note.In addition, the music will really come to life if all "solo" places are done standing up.The musician Anon Egeland tells this story:This song got its name from a party where it all just got a bit too lively: one of the party-goers started shooting into the ceiling with a gun just as this reinlender was being played. The fiddler - or was it the man with the gun? - was called Griffenfeldt, and that gave the name for the song.
Estimated dispatch 5-14 working days
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£92.20Takk - Edvard Grieg - Reid Glje
"Gratitude" is one of Grieg's beautiful lyrical pieces, Op. 62 No. 2.Eva Knardahl made a beautiful recording that I well remember was used as background for a picture cavalcade by the Norwegian Broadcasting Corporation during the passing of His Majesty King Olav V of Norway in 1991.In this arrangement for band, I have tried to vary the instrumentation, both for the sake of more colours and to emphasize the drama.This piece should be played rubato with elastic phrasing. The form can be described as AABACoda. The most dramatic section is the B part from measure 25, which peaks just before measure 38. The last four measures (from measure 53) can be done a bit 'meno' in tempo.Reid Gilje
Estimated dispatch 5-14 working days
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£115.60Tuba Tornado - Hans Offerdal
This piece explores the life span of a tornado and which instrument is better suited for that than just the tuba? The piece has three movements: I - Impatient Storm Cell II - Cumulus Clouds III - Multiple Vortex Tornado This piece presents challenges in dynamics and articulation, as well as in the interplay with the soloist. The piece is based on a scale of seven pitches (as 'Tornado' has seven letters) and is notated as a concert Eb major scale with three accidentals. Only these seven notes are played throughout the piece. Playing time appx. 10 minutes.
Estimated dispatch 5-14 working days
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£127.30Var sang - Svein H. Giske
Our song was commissioned by Knarvik Skolekorps for their junior band in 2020. They wanted an original piece that could challenge their young players.This became a suite in three movements with themes that run through the whole piece.In the 2. movement there is a possibility for the band to sing in Song of friendship.. Young people finding friendship through music, as I myself have done, is one of the nicest things one can experience, in my opinion.Should you choose not to sing, you can just play the notes as printed.Svein H. Giske-September 2022-
Estimated dispatch 5-14 working days
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£74.99
Brilliant Beatles - Peter Kleine Schaars
There have been many arrangements of Beatles' songs for various kinds of ensembles, so rather than just producing a further medley of Beatles' hits, Peter Kleine Schaars has added a new twist to them with this excellent new work. All You Need Is Love and With a Little Help from my Friends pass by in a swing march, Michelle sounds like a newly composed ballad and When I'm Sixty Four is played in Dixie swing style. A Hard Day's Night is transformed into a funk theme with a samba interlude, Let It Be into a slowmarch, and Ob-La-Di, Ob-La-Da in a rock beat. Experience The Beatles as you have never heard them before.
Estimated dispatch 5-14 working days
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£17.50The Mansions of Glory (Score Only)
"A young, talented and tender-hearted actress was passing along the street of a large city. Seeing a pale, sick girl lying upon a couch just within the half-open door of a beautiful dwelling, she entered, with the thought that by her vivacity and pleasant conversation she might cheer the young invalid. The sick girl was a devoted Christian, and her words, her patience, her submission and heaven-lit countenance so demonstrated the spirit of her religion that the actress was led to give some earnest thought to the claims of Christianity, and was thoroughly converted and became a true follower of Christ. She told her father, the leader of a theatre troupe, of her conversion and of her desire to abandon the stage, stating that she could not live a consistent Christian life and follow the life of an actress. Her father was astonished beyond measure and told his daughter that their living would be lost to them and their business ruined if she persisted in her resolution.Loving her father dearly, she was shaken somewhat in her purpose and partially consented to fill the published engagement to be met in a few days. She was the star of the troupe, and a general favourite. Every preparation was made for the play in which she was to appear. The evening came and the father rejoiced that he had won back his daughter and that their living was not to be lost. The hour arrived; a large audience had assembled. The curtain rose and the young actress stepped forward firmly, amid the applause of the multitude. But an unwonted light beamed from her beautiful face. Amid the breathless silence of the audience, she repeated: 'My Jesus, I love thee, I know thou art mine,For thee all the pleasures of sin I resign;My gracious Redeemer, my Saviour art thou,If ever I loved thee, my Jesus, 'tis now.' This was all. Through Christ she had conquered and, leaving the audience in tears, she retired from the stage, never to appear upon it again. Through her influence her father was converted, and through their united evangelistic labours many were led to God." 1. My Jesus, I love thee, I know thou art mine,For thee all the pleasures of sin I resign;My gracious Redeemer, my Saviour art thou,If ever I loved thee, my Jesus, 'tis now.2. I love thee because thou hast first lovd me,And purchased my pardon on Calvary's tree;I love thee for wearing the thorns on thy brow,If ever I loved thee, my Jesus, 'tis now.3. I will love thee in life, I will love thee in death, And praise thee as long as thou lendest me breath; And say, when the death-dew lies cold on my brow; If ever I loved thee, my Jesus, 'tis now.4. In mansions of Glory and endless delight,I'll ever adore thee and dwell in thy sight; I'll sing with the glittering crown on my brow: If ever I loved thee, my Jesus, 'tis now. William Ralph Featherstone
Estimated dispatch 7-14 working days
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£39.95When Thunder Calls (Brass Band - Score and Parts)
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 dispatch 7-14 working days
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