Results
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£228.70Fanfare and Chorale - Egil Hovland - Ray Farr
This arrangement (or edition) for brass band will give the possibility for more performances of this fine work by Hovland. The composer, before his death, examined my work and made no suggestions for changes, and his approving comments were complimentary and encouraging. The work was originally written for Concert Band in 1966 as Op. 54a to St. Olaf College Band in the US. It was transcribed in 1967 for symphony orchestra as Op. 54b by the composer himself. The challenges in arranging the piece for brass band were mostly concerned with satisfactorily covering the upper register used by piccolo, flutes and clarinets, and while there are wonderful brass players around who have amazing high registers, I have aimed this edition at a level achievable by reasonably good brass band players who are willing to give time and effort into the proper preparation and delivery of the music. Having worked on this new edition with a top-class brass band, I think it sounds wonderful and interestingly different to the original. Besides the obvious differences of tone-colour and absent high notes, I have used in my scoring, the option for using a vibraphone in place of a celeste. Vaughan Williams, in his Variations for brass band writes for celeste, but because the instrument is quite rare, performances have been mostly given using a glockenspiel- but this, of course sounds two octaves higher than it was intended. I think that vibraphone and brass is an excellent combination and recommend it without hesitation in this piece. Every detail of articulation and dynamic has been considered, so in order to keep the integrity of the music, please do not change anything in the name of "interpretation". As Ravel says- "What is there to interpret?" Ray Farr
Estimated dispatch 5-14 working days
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£29.95A Little Prayer - Evelyn Glennie - Robert Childs
Originally composed for solo marimba, this popular version of A Little Prayer was made in 1998 following Evelyn Glennie's collaboration with Black Dyke Band during the recording of their Grammy nominated Reflected in Brass CD. Robert Childs, then principal euphonium with Black Dyke, requested Evelyn's permission to make the arrangement for his son, David. The composer obliged, and Robert presented the score and parts to his son as a seventeenth birthday present. Evelyn Glennie revealed: "When I wrote this chorale for marimba, it expressed my spiritual feelings and displayed a pleasantly relaxed dimension of the instrument. Over the years my exposure to brass bands has filled me with wonder; their musical diversity is considerable. I had no hesitation in giving A Little Prayer to Robert Childs to bring this little melody to life." Having composed the work when she was only 13, Evelyn continued: "As a child I would never have believed that such a short and simple piece of music, would come to grow this much. A little Prayerserves to prove that one should always bet their chips on what they believe in, for nine out of ten it will be worth it!" After twenty years of exclusivity, Prima Vista Musikk is proud to make this beautiful arrangement available to all. A Little Prayer provides the perfect reflective interlude for concert or devotional use by euphonium soloists and bands of all abilities.
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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£115.60S.O.S. - Björn Ulvaeus - Bjørn Morten Kjærnes
When the publisher asked me to make an arrangement of an ABBA tune, S.O.S. was the first song I thought of. Its introduction and melody are well suited to play for Wind Band. Admittedly, the key had to be shifted to make it sound good for this instrumentation. To me, this is nostalgia, while for others, the Mamma Mia movie/show will be what they associate with this wonderful song. Apart from a few medleys, few of ABBA's songs are available to Wind Band. So, it was very fun to work on this classic.The arrangement is made quite simply to fit many sizes of Bands. Technically, it is also relatively simple both in range and rhythm. As you can see, there are many ways to adjust this arrangement to your own ensemble. Bring out melody lines and the bassline, and a lot is done. If needed, simplify to make it sound nice.Bjorn Morten Kjaernes
Estimated dispatch 5-14 working days
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£59.99MacArthur Park - Philip Sparke
Over a period of four decades Jimmy Webb (b. 1946) has written hits for a number of singers including Glen Campbell, Art Garfunkel, Frank Sinatra, Willie Nelson, Johnny Cash and Linda Ronstadt. His songs are often epic in character and include By the Time I Get to Phoenix; Up, Up and Away; Didn't We; Wichita Lineman and Galveston. MacArthur Park (1968) was unlike anything that had gone before it. Running at over 7 minutes, it is 2 or 3 times the length of most pop songs and has an extended orchestral interlude. Richard Harris' seminal recording topped the music charts in Europe, while peaking at number two on the U.S. charts. Philip Sparke has made this excellentarrangement for brass band, which is sure to become a regular feature on your concert programme.
Estimated dispatch 5-14 working days
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£119.99The Binding of the Wolf - Torstein Aagaard-Nilsen
This piece was commissioned by Nordhordland Brass Seminar in 1990 and written for a youth band. The title referes to a story from norse mythology. "The Binding of the Wolf" is not a programmatic piece of music, but I felt that there was a kind of coherence between the music and the dramatic story: "...The wolf Fenrir was one of the demonic offspring of Loki, and as he grew up in Asgard among the gods, he became so huge and fierce that only Tyr was willing to feed him. It was decided that he must be bound, and Odin in his wisdom caused the cunning dwarfs to forge a chain which could not be broken. It was made from the invisible and yet potent powers ofthe world, such as the roots of a mountain, the noise of a moving cat, the breath of a fish. When completed, this chain seemed to be no more than a silken cord, but the wolf refused to let it be laid upon him unless one of the gods would put a hand between his jaws as a pledge that it was harmless. Only Tyr was prepared to do this, and when the wolf found that the chain was unbreakable, the gods rejoiced, but Tyr lost his hand. The binding of the wolf may be seen as a means of protecting the world of men, as well as that of the gods, from destruction. The story of the god losing his hand appears to be one of the fundamental myths of nothern Europe..."
Estimated dispatch 5-14 working days
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£90.00
Fragile Oasis - Peter Meechan
Fragile Oasis is the name of a collective who describe themselves as aaa grass-roots participatory initiative that connects the shared perspective of astronauts from different countries and cultures with people on Earth, encouraging all to work together so that our planet is not only visibly beautiful, but beautiful for alla.Many involved in the project are astronauts on the International Space Station (I.S.S.), who post, on their website (http://www.fragileoasis.org) many different details of their experiments, photos from space, and some incredible video footage of our Earth.One such time lapse video (a video made up many still images) was posted on their website by astronaut Ron Garan (http://www.fragileoasis.org/blog/2011/11/coming-back-down-to-our-fragile-oasis-2/) in 2011. It is made up of images taken from the I.S.S. of what Garan described as aaa couple of laps around our Fragile Oasis before coming back down [to Earth]a and features all kinds of amazing views from space.Each of the five sections of this work relate to an aspect of the video - either something literal or something more metaphorical. The opening section, i: The lights from Above, is a musical description of the view of the Aurora Australis from above the lights. The second section, ii: The Storm from Above (part i), is also a musical portrayal of portions of the video clip - in this case the many lightning storms we see from above. The storms that are so powerful on Earth appear as small bolts of electricity dancing through the clouds.The third section, iii: Freya, has its roots in personal family tragedy. The name Freya derives from a Norse goddess who was associated with both beauty and love, and in this central section I wanted to write music that not only acknowledged how fragile life itself is, but that every day of it counts and should be celebrated.iv: The Storm from Above (part ii) is a again a reference to the lightning storms, but also to the huge hurricanes we see in the video. It leads us to the final section, v: The Oasis from Above - a description of the size and grandeur of Earth, our Fragile Oasis.Fragile Oasis was commissioned by Leyland Brass Band and Michael Bach, and partly funded by The John Golland Trust, for their appearance at the 2013 European Brass Band Championships in Oslo, Norway. It is dedicated to Natalie Youson, in friendship
Estimated dispatch 12-14 working days
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£110.00Diversions after Benjamin Britten (Brass Band - Score and Parts)
Suite by Lucy Pankhurst, Simon Dobson, Paul McGhee and Gavin HigginsHaving devised a collective centenary tribute for Michael Tippett at the 2006 RNCM Festival of Brass (Variations on a Theme of Michael Tippett by five eminent composers of brass band music, PHM002), I commissioned this companion piece as a Benjamin Britten tribute for the 2013 festival. In the late 1970s, while researching a book about the English composer, and Britten's first teacher, Frank Bridge (1879 - 1941), I came across a copy of the printed score of Benjamin Britten's Variations on a Theme of Frank Bridge (Op.10) for string orchestra, in which Britten had written descriptive titles for each of the variations suggesting appropriate character traits of his much loved mentor and guide. The character variations are cast in march, song and dance forms.Taking inspiration from Britten's youthful tribute, I invited four award-winning composers, who have all made significant contributions to the brass band medium, to create their own personal reflections on four aspects of Britten's character and music, designed to form a suite of Diversions after Benjamin Britten, but which can also be played separately.Lucy Pankhurst's hauntingly lyrical Prelude: His Depth refers to the emotional and symbolic subtexts that underpin Britten's operas, taking its musical cue from Britten's many arrangements of folk songs. The flugel horn takes a prominent role throughout.Simon Dobson's breathless Scherzo: His Vitality reminds us with its rapid passage work and leaping bass 'groove' that Britten loved tennis and fast cars in his younger days.Paul McGhee's evocative interpretation of the March: His Sympathy represents Benjamin Britten's pacifism, as the composer writes: 'We view the music through the eyes of a pacifist. Whilst war and violence surround us, we do not engage in it and though it continues to happen around us. With the use of muted effects in most of the band throughout the piece, the flugel horn is the lone voice of reason, standing firm against the mechanical and destructive society in which it is forced to live. As the machine of war continues around the lone voice, the voice is gradually dismissed and mocked as the war machine rumbles on into the distance.'In an extended finale, entitled Toccata: His Skill, Gavin Higgins celebrates Benjamin Britten's consummate creativity. For the RNCM Festival of Brass premiere, the four contrasting movements were framed and connected by Britten's Fanfare for St. Edmundsbury for three trumpets, with the trumpet soloists spaced round the hall. I am grateful to the Britten Estate and publishers Boosey & Hawkes for giving permission for the elements of Britten's fanfare to be incorporated in the collective work.- Paul HindmarshDuration: 19.30
Estimated dispatch 7-14 working days
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£45.00
Diversions after Benjamin Britten (Brass Band - Score only)
Suite by Lucy Pankhurst, Simon Dobson, Paul McGhee and Gavin HigginsHaving devised a collective centenary tribute for Michael Tippett at the 2006 RNCM Festival of Brass (Variations on a Theme of Michael Tippett by five eminent composers of brass band music, PHM002), I commissioned this companion piece as a Benjamin Britten tribute for the 2013 festival. In the late 1970s, while researching a book about the English composer, and Britten's first teacher, Frank Bridge (1879 - 1941), I came across a copy of the printed score of Benjamin Britten's Variations on a Theme of Frank Bridge (Op.10) for string orchestra, in which Britten had written descriptive titles for each of the variations suggesting appropriate character traits of his much loved mentor and guide. The character variations are cast in march, song and dance forms.Taking inspiration from Britten's youthful tribute, I invited four award-winning composers, who have all made significant contributions to the brass band medium, to create their own personal reflections on four aspects of Britten's character and music, designed to form a suite of Diversions after Benjamin Britten, but which can also be played separately.Lucy Pankhurst's hauntingly lyrical Prelude: His Depth refers to the emotional and symbolic subtexts that underpin Britten's operas, taking its musical cue from Britten's many arrangements of folk songs. The flugel horn takes a prominent role throughout.Simon Dobson's breathless Scherzo: His Vitality reminds us with its rapid passage work and leaping bass 'groove' that Britten loved tennis and fast cars in his younger days.Paul McGhee's evocative interpretation of the March: His Sympathy represents Benjamin Britten's pacifism, as the composer writes: 'We view the music through the eyes of a pacifist. Whilst war and violence surround us, we do not engage in it and though it continues to happen around us. With the use of muted effects in most of the band throughout the piece, the flugel horn is the lone voice of reason, standing firm against the mechanical and destructive society in which it is forced to live. As the machine of war continues around the lone voice, the voice is gradually dismissed and mocked as the war machine rumbles on into the distance.'In an extended finale, entitled Toccata: His Skill, Gavin Higgins celebrates Benjamin Britten's consummate creativity. For the RNCM Festival of Brass premiere, the four contrasting movements were framed and connected by Britten's Fanfare for St. Edmundsbury for three trumpets, with the trumpet soloists spaced round the hall. I am grateful to the Britten Estate and publishers Boosey & Hawkes for giving permission for the elements of Britten's fanfare to be incorporated in the collective work.- Paul HindmarshDuration: 19.30
Estimated dispatch 7-14 working days
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£55.00Dance On A Volcano - Brass Band Sheet Music Full Score & Parts - LMAM012 - Phil Collins, Tony Banks, Mike Rutherford & Steven Hackett - David Beal
Any purchases from this site cannot be made please click on the link (PURCHASE PDF - Sheet Music Direct or Sheet Music Plus). Do not click on "Add to cart" or buy with Shop button.Any purchases from this site cannot be made please click on the link (PURCHASE PDF - Sheet Music Direct or Sheet Music Plus). Do not click on "Add to cart" or buy with Shop button.COMPOSER: Phil Collins, Tony Banks, Mike Rutherford & Steven HackettARRANGER: David BealCLICK HERE TO PURCHASE - THIS ARRANGEMENT IS ONLY DOWNLOADABLE FROM -Dance On A Volcano (arr. David Beal) Sheet Music | Steven Hackett | Brass Band (sheetmusicdirect.com)A Trick of the Tail is the seventh studio album by English progressive rock band Genesis. It was released on 13 February 1976 on Charisma Records and was the first album to feature drummer Phil Collins as lead vocalist following the departure of Peter Gabriel. It was a critical and commercial success in the UK and U.S., reaching No. 3 and No. 31 respectively. The opening track, "Dance on a Volcano", was the first song written for the album. Rutherford felt that, in contrast to the material on The Lamb..., it was easy to write, and was intended to show how Genesis would move forward. Now available for Brass BandAny purchases of this Item cannot be made from this listing please click on the link above - Any purchase using this site will be refundedAbout Digital DownloadsDigital Downloads are downloadable sheet music files that can be viewed directly on your computer, tablet or mobile device. Once you download your digital sheet music, you can view and print it at home, school, or anywhere you want to make music, and you don't have to be connected to the internet. Just purchase, download and play!PLEASE NOTE: Your Digital Download will have a watermark at the bottom of each page that will include your name, purchase date and number of copies purchased. You are only authorized to print the number of copies that you have purchased. You may not digitally distribute or print more copies than purchased for use (i.e., you may not print or digitally distribute individual copies to friends or students).
In Stock: Estimated dispatch 3-5 working days
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