Results
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£59.95
Beulah Land (Brass Band - Score and Parts) - Heaton, Wilfred - Hindmarsh, Paul
Wilfred Heaton began to assemble material for 'Beulah Land' in the early 1990s following a request from the Amsterdam Staff Band for a new work. Despite reminding himself on the manuscript that he should either complete or destroy the work before his death, ultimately he did not manage either. This edition was subsequently realised in 2003 for the tour of the USA Western States by the Amsterdam Staff Band.'Beulah Land' is Heaton's vision of the joy that awaits the Christian in Heaven and, according to his family, is reminiscent of the kind of music he often improvised at the piano. The three movements are as follows;1. Better World; a waltz sequence on the tune 'Zealley' to which the words 'There is a better world, they say' are sung.2. Heavenly Home; an elegiac cortege using the tunes 'My home is in Heaven', 'I have a home that is fairer than day' and 'The home over there'.3. Happy Land; Beginning in waltz rhythm this soon gives way to a sequence of free variations on the song 'There is a happy land, Far, far away'.
Estimated dispatch 7-14 working days
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£29.95
Beulah Land (Brass Band - Score only) - Heaton, Wilfred - Hindmarsh, Paul
Wilfred Heaton began to assemble material for 'Beulah Land' in the early 1990s following a request from the Amsterdam Staff Band for a new work. Despite reminding himself on the manuscript that he should either complete or destroy the work before his death, ultimately he did not manage either. This edition was subsequently realised in 2003 for the tour of the USA Western States by the Amsterdam Staff Band.'Beulah Land' is Heaton's vision of the joy that awaits the Christian in Heaven and, according to his family, is reminiscent of the kind of music he often improvised at the piano. The three movements are as follows;1. Better World; a waltz sequence on the tune 'Zealley' to which the words 'There is a better world, they say' are sung.2. Heavenly Home; an elegiac cortege using the tunes 'My home is in Heaven', 'I have a home that is fairer than day' and 'The home over there'.3. Happy Land; Beginning in waltz rhythm this soon gives way to a sequence of free variations on the song 'There is a happy land, Far, far away'.
Estimated dispatch 7-14 working days
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£50.00Judd: Beulah Land
Wilfred Heaton began to assemble material for 'Beulah Land' in the early 1990s following a request from the Amsterdam Staff Band for a new work. Despite reminding himself on the manuscript that he should either complete or destroy the work before his death, ultimately he did not manage either. This edition was subsequently realised in 2003 for the tour of the USA Western States by the Amsterdam Staff Band. 'Beulah Land' is Heaton's vision of the joy that awaits the Christian in Heaven and, according to his family, is reminiscent of the kind of music he often improvised at the piano. The three movements are as follows; 1. Better World; a waltz sequence on the tune 'Zealley' to which the words 'There is a better world, they say' are sung.2. Heavenly Home; an elegiac cortege using the tunes 'My home is in Heaven', 'I have a home that is fairer than day' and 'The home over there'.3. Happy Land; Beginning in waltz rhythm this soon gives way to a sequence of free variations on the song 'There is a happy land, Far, far away'.
Estimated dispatch 7-14 working days
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£83.00
A Bournemouth Suite - Benjamin Tubb
Bournemouth Suite was written by Benjamin Tubb in 2005, when the composer was just 17 years of age. After spending many school holiday weeks with his grandparents in the coastal town of Bournmouth, it was obvious that these experiences would make a great basis for a composition.This testpiece is split into three separate movements: Balloon Ride, The Pier at Night and The BIC. Each movement has its own unique character, although there are ideas shared by all three throughout, one of which is the opening syncopation.Balloon RideThe First movement, Balloon Ride, describes a journey on "The Bournemouth Eye", a tethered hot air balloon that takes you up 500 feet. It's located in the middle of the town centre, which enables you to see surrounding countryside for up to 20 miles! The movement begins rather ominously as the balloon raises from the ground which leads into a more lively section caharacteresed by the repeating quavers in the lower brass and woodblock. The movement ends in much the same way as it started - signalling the return to terra firma.The Pier At NightDuring the summer there are several large firework displays in the town centre. The second movement, The Pier At Night descirbes an evening spent on the beach in deckchairs watching the montage of colours in the night-time sky. With demanding solos for horn and cornet, as well as exposed playing spread throughout the band, this slow movement will really test a band's expressive and lyrical playing.The 'BIC'The Bournemouth INternational Centre, also known as "The BIC" is one of Bournemouth's most visited attractions, and regularly hosts shows such as 'Riverdance' and pantomimes. Inside is a world of entertainment and the centre itself is just a stone's throw from both "The Bournemouth Eye" and the Pier. The 3rd movement has been written to describe the buzz of activity surrounding the BIC, and the entire works ends with the same syncopated motif from the beginning.A Bournemouth Suite was set as the 'set-test' at the Pontins Brass Band Championships 2009.
Estimated dispatch 7-14 working days
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£80.05Mind Dances (Brass Band) Fendall Hill
This highly descriptive and personal work for brass band is autobiographical, and based on a seven-year period of the composer Fendall Hill's life. He comments: "...external events had severe personal consequences, and my previously self assured self woke in the early mornings, way before my body wanted. My mind would fret, regret, and attempt to fix things beyond my control or powers, carving out an anxiety-shaped hole in my soul. This piece is an exploration of the sheer range of thought processes I went through, the mind dances I would perform to either calm myself back to sleep, or somehow come to terms with my situation. So often I would get to the point of mental exhaustion after phases of semi-calm, imagined alternate realities, and sheer panic. Your mind knows there is no benefit to worrying, but that doesn't stop the flow of emotions, the fear, and the anxiety." To view a performance video of the work please visit www.youtube.com/watch?v=pUhy33KKCKY&t=3s PDF download includes score and parts. Sheet music available from: UK - www.brassband.co.uk USA - www.cimarronmusic.com Difficulty Level: First Section + Length: 15.00 minutes 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 Percussion Vibraphone Marimba
In stock: Estimated dispatch 1-3 days
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£79.95Amundsen - Jonathan Bates
DURATION: 14'00". DIFFICULTY: 1st+. 'Amundsen' was commissioned by rskog Brass, Norway for their winning performance at the 2020 Norwegian National Championships held at the Grieghallen in Bergen. In December 1911, Norwegian Roald Amundsen gained global fame by becoming the first explorer to lead a team to the geographic South Pole. Amundsen and 4 other members of his team arrived 5 weeks ahead of a rival team from the UK led by Robert Falcon Scott, all of which perished on their attempted return from the pole. Initially when Amundsen's team set out in 1910, they were under the impression that they would be making the far shorter journey to the arctic drift to attempt to reach the North Pole, but Amundsen had received news that American explorers Peary and Cook had beaten them to this goal, and so Amundsen's focus changed southward. 'Fram, Forward' - 'Fram' (translating to English as "forward") was the name of the ship Amundsen used for this particular polar expedition. Amundsen had only informed 2 people of his real intentions of conquering the South Pole when the ship first left port in Kristiansand before heading south to the Portuguese island of Madeira in the Atlantic Ocean. After weeks at sea - causing the uninformed members of the crew to raise a number of questions and produce a general feel of uncertainty and low spirits - it was here that Amundsen announced his true plans to the rest of his crew. They were asked whether they wished to continue with their expedition, to which all - some begrudgingly - agreed to sail on to the South Pole, through the great Ice Barrier before docking in the Bay of Whales on the Ross Ice Shelf. 'Ross Ice Shelf' - Upon Amundsen's arrival in the Bay of Whales, the team were greeted by the sight of the enormous ice plateau's and glaciers, towering into the Antarctic sky. In 1907, Ernest Shackleton had attempted - and failed - to reach the South Pole, but his route and mapping was by now well documented. Scott and the UK team were to follow this route, whereas Amundsen and his men forged their own way to the pole through unchartered territory and deadly terrain littered with deep crevasses and canyons. The music here though, is a picture of tranquility. The eerie silence of total emptiness with only the heavy snow falling around Amundsen as Fram and the Bay of Whales disappears into the distance, faced by the maginute of the expedition ahead. 'Advance to Polheim' - The first new challenge Amundsen discovered on this route was a rough, sharp and extremely steep glacier (which was later named the Axel heiberg Glacier after the Norwegian monarch who funded much of the expedition), which would take his team up from sea level to an altitude of over 9,000ft in just 20 miles, with most of this over just 7 miles. Once scaled, only the vast Antarctic Plateau stood between Amundsen and the pole. Here the race began, with only one aim - victory for himself, his team, and for the whole of Norway. .
In stock: Estimated dispatch 1-3 days
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£59.95Judd: Quest
'Quest' was originally written for the Territorial Youth Band (UK) in 2012. It is a major work in three movements, Movement 1: Making a difference, Movement 2: Making time and Movement 3: Making progress. The music essentially charts the journey of the Christians life. The music commences with Ray Steadman-Allen's choral work and testimony 'So this is it! My day for living!' and has references and then a presentation to the tune 'Southport' associated with the words 'To serve the present age my calling to fufil'. The music displays the struggle of the Christian in maintaining a witness within this world. The second movement is a reflective and prayerful setting of the song 'This day' found in the Sing to the Lord journal. The imposing third movement features the tune 'Trust in God' with the associated words 'As the weary way of life we journey'. The piece has been recorded by the International Staff Band under the same title (SPS330)
Estimated dispatch 7-14 working days
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£50.00Triumph Series Band Journal November 2017 Numbers 1291-1294
March - The Galtonian (Nicholas Samuel)Dedicated to the Cambridge Citadel Band (Canada) in which the composer is the Corps Officer this march features 'We bring the sacrifice of praise', 'Ode to Newfoundland' and 'Happy Song'. The Galtonian is based on 'Galt' being the historical region of Cambridge.Entry - Thank you! (Erik Silfverberg)This work provides a different and inventive way to open festivals with the popular tune of 'Thank you!'Beside the sea (of Galilee) (Andrew Mackereth)This strong, powerful setting on the tune 'Lakeside' portrays many emotive responses and will be an excellent addition to the repertoire.March - Forever with the Lord! (Eiliv Herikstad)This rousing march features the tune 'Forever with the Lord' and evokes the style of the Salvationist composer Erik Leidzen.
Estimated dispatch 7-14 working days
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£45.00isti mirant stella
Descriptionisti mirant stellais based on an extract from the text of the Bayeux Tapestry, which was commissioned by Odo, Bishop of Bayeux, to commemorate the Norman conquest of England in the 11th century. This text relates to the appearance of Halley's Comet in the spring of 1066. King Edward the Confessor died without an heir early on 5 January 1066 and despite his apparent promise of the throne to William, Duke of Normandy, the Anglo-Saxon Witenagemot appointed Harold Godwinson of Wessex as his successor. Just after Harold's hastily arranged coronation the comet appeared, reaching its perihelion on 20 March 1066. In the Middle Ages comets were regarded as evil omens; the tapestry depicts men gazing at the "star" in wonder and Harold himself apparently lost in nightmarish visions of invasion, with ghostly ships in the margins of the tapestry.The music attempts to reflect the mood of this brief but crucial period of English history - the unsettled matter of the royal succession linked in the superstitious medieval imagination to the haunting, spectral apparition of the comet. Medieval composition techniques are employed in places, including the use of a 'tenor', hocketing and a brief isoryhthmic motet. The music attempts to avoid tonal centres and particularly any form of diatonic 'resolution', instead exploring the issue of unresolved dissonance as a musical device in its own right.Performance Notes:All cornets, flugel and solo horn will require bottles filled with water to varying levels to 'tune' them to the correct pitch for the closing section of the piece. Pitches for the bottles are notated in the same transposition as the player's main instrument, so for example a notated D in the bottle part for flugel would sound as a C.All cornets except soprano require harmon mutes; where these are marked 'TR' these should have the tube removed. 'TI' denotes the tube should be left all the way in. Soprano and solo cornet III require metal straight mutes; flugel, all tenor horns, 2nd baritone and both euphoniums require fibre straight mutes. Soprano, all solo cornets and all trombones require cup mutes.The percussion section will require vibraphone (with a suitable bow, preferably a 'cello bow), glockenspiel, tubular bells (low and high E only), concert bass drum, tam-tam and snare drum - the bass drum and tam-tam will require brushes in addition to the normal beaters. In addition 1st horn and 1st baritone are required to play triangles, which should ideally be different pitches if possible.Approximate duration 7'48"NOTE: This set comes with a B4 score. To view a PDF preview click here.
Estimated dispatch 7-14 working days
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£25.50Brass Monkey's Jazz Workout
This huge release brings together a selection of music composed by Paul H Traves that introduces your learners to the different style of Jazz that is available. Naturally, the rhythmic work required to play such styles means that this publication will push your learners on and will challenge them at a new level. Syncopation and swing are at the heart of the music in this collection and it is the perfect way to get your learners playing in new styles not always covered by training band music. This title offers excellent value for money with seven titles included. This publication features:SNAKES & LADDERS - (teaching dynamics and expressive playing)CHROMATICS - (As the title suggest, ensuring every valve us used!)ROCKIN' GERONIMO - (featuring triplets and accidentals)TRUMPET DRIFT - (introducing crotchet triplets & syncopation)J.B.'s 12 BAR BLUES - (a well-known style that feature sharp key signatures)J.B.'s CALYPSO (unison playing and tight rhythmic playing required)ZIG-ZAG (getting players into a lazy swing style)
Estimated dispatch 7-14 working days
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