Results
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£14.95Deep Harmony (Brass Band - Score only) - Pullin, Stuart
Stuart Pullin unfortunately passed away at a very early age, just 32, but leaves a wonderful legacy of compositions. It was his wish that this moving arrangement of 'Deep Harmony' be donated to The Salvation Army for publication so that it can now be played and appreciated by all.
Estimated dispatch 7-14 working days
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£34.95
Jesus Shall Conquer (Brass Band - Score and Parts) - Downie, Kenneth
This music was written for Salvation Brass. It is declamatory in style and would fit the role of an intrada. The words associated are by a former General of The Salvation Army, Albert Orsborn, and have a very optimistic tone, consistent with the Christian faith. The chorus reads: Jesus shall conquer, lift up the strain! Evil shall perish and righteousness shall reign.The tune used is Pilgrims (T.B. 548), by Henry Thomas Smart, the 19th Century English composer and organist, who also wrote another of my favourite hymn tunes, Regent Square. Keeping a steady tempo will help to preserve the dignity of the theme and also help to avoid the busier passages in the score from being rushed. As ever, articulation and dynamics require careful attention.
Estimated dispatch 7-14 working days
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£17.50
Jesus Shall Conquer (Brass Band - Score only) - Downie, Kenneth
This music was written for Salvation Brass. It is declamatory in style and would fit the role of an intrada. The words associated are by a former General of The Salvation Army, Albert Orsborn, and have a very optimistic tone, consistent with the Christian faith. The chorus reads: Jesus shall conquer, lift up the strain! Evil shall perish and righteousness shall reign.The tune used is Pilgrims (T.B. 548), by Henry Thomas Smart, the 19th Century English composer and organist, who also wrote another of my favourite hymn tunes, Regent Square. Keeping a steady tempo will help to preserve the dignity of the theme and also help to avoid the busier passages in the score from being rushed. As ever, articulation and dynamics require careful attention.
Estimated dispatch 7-14 working days
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£69.99Christmas Day (Brass Band with Optional Choir - Score and Parts) - Holst, Gustav - Beringen, Robert van
Gustav Holst composed almost 200 works, one being a very elegant and charming fantasy on the old English christmas carols: Good Christian Men, Rejoice; God Rest You Merry, Gentlemen; Come Ye Lofty, Come and The First Nowell. The fantasy called Christmas Day was originally written for mixed choir with orchestra or organ accompaniment. Robert van Beringen has arranged this work for concert band exactly 100 years later. His arrangement can be performed as an instrumental piece or with a choir, making it suitable for any occasion.Duration: 5:45
Estimated dispatch 7-14 working days
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£42.95ANDANTE (from 6th Symphony) (Brass Band) - Barry, Darrol
This famous melody is adored around the world. It was also the basis for a very popular 'pop' song Story of a Starry Night.
Estimated dispatch 7-14 working days
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£74.99THE BANKS OF GREEN WILLOW (Brass Band - Score and Parts) - Butterworth, George - Wilson, Duncan
George Butterworth (1885-1916) was an English composer who died at a very young age, leaving behind few compositions. One of his best known and regularly played works is The Banks of Green Willow. People who have studied his work agree that Butterworth displayed great potential which would have flourished were it not for his untimely death. Duncan Wilson's arrangement makes Butterworth's imagination accessible. Duration: 5:00
Estimated dispatch 7-14 working days
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£271.60Aubade - Dawn Songs of the Fabulous Birds - Torstein Aagaard-Nilsen
Commissioned by The Norwegian Band Federation for The European Brass Band Championship 2003, in Bergen, Norway (Third edition) I remember as a kid the very early morning wake-up ceremonies caused by Seagulls having a "party" outside our home. Very few would describe it as beautiful, particularly not at 4:30 in the morning... But by listening carefully to birds I was fascinated by their diversity and musical language: they dont sing tunes or long phrases, they rather make sounds and signals, based on short motives. Aubade is based on musical pictures of the imaginary birds: the creatures with wings that exists only in myths and legends. The whole story starts with aBaritone-cadenza that evoke all the sleeping creatures. Very soon they all start to sing their songs in one way or another. The composition has a burlesque scherzo-character including slow espressive intersections. Traditional elements like melody and harmony is combined with extensive sounds and textural effects created by use of multiple muting, singing and playing at the same time. I am not too concerned about having a program for the piece. I just know that by thinking of the unheard dragon-songs, griffin-songs, the sound of the dodo, my creativity was stimultated. As a piece of music, Aubade follows its own rules based on well-known elements like melodies, arpeggio-figures, harmonies, rhythms, variations and recapitulation of ideas. - Torstein Aagaard-Nilsen
Estimated dispatch 5-14 working days
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£72.99Pagan Songs - Etienne Crausaz
Written in three movements without a break, this work was inspired by melodies of a popular nature. The first movement features two opposing modal melodies: one is very bright and lively, the other dark and tuneful. Various motifs are developed to offer highly contrasting musical events. The second movement is very peaceful, with a melody resembling a lullaby. To conclude the piece, the last movement delivers a festive dance with a swing feel. Commissioned by the Swiss Music Association, this very accessible work is mostly intended for small ensembles or those with mixed instrumentation. The duration and conception of this piece makes it ideal for competitions and concerts alike.
Estimated dispatch 5-14 working days
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£122.10Den store dagen - Benny Borg - Bjørn Morten Kjærnes
This beautiful song contains a huge contrast between the hopeful and the disappointing. A mother has her birthday and is waiting her children to celebrate it. Each verse starts optimistically, but the short chorus is characterized by the disappointment, that everyone calls, and cannot come. This has been tried recreated musically, mostly in the last two choruses, as it dawns on her that she will not receive a visit. It's a beautiful tune, but with a serious message that it's easy to take someone for granted.One of the elements Hjorring Brass Band (DK) came up with after rehearsal, was that they really liked the change between the ballad parts with even eights and the swing parts. This also gives the piece a sense of "parlando" character, which tells a story, and is therefore important to focus. It is not quite simple, as the melody also in those parts with even eights has some triplet rhythms. Therefore, this is a topic you can work on very consciously.If you have heard the Wind Band version, you can notice that both keys and modulation are different in the Brass Band arrangement to sound better for this instrumentation.Regarding instrumentation, Flugelhorn, Solo Horn and Euphonium have important roles, in addition to Solo Cornet.It is also possible to use a vocal soloist, but then you have to soften the melody voices, especially, where small variations in the melody have been made for the wind instruments.
Estimated dispatch 5-14 working days
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£80.00St. Magnus - Kenneth Downie
Dedicated to Alastair Massey, an inspirational music teacher. Commissioned by the Scottish Brass Band Association for the 2004 European Brass Band Championships in Glasgow. This music is a set of variations on the tune known as St Magnus, which is attributed to Jeremiah Clarke. Most people will associate it with Thomas Kelly's hymn which begins: "The Head that once was crowned with thorns is crowned with glory now". The tune is very simple, consisting of just two, four-bar phrases. Neither is there much in the way of rhythmic variety, every note being a crotchet with the exception of two quavers, and the last note in each phrase. Within such a simple structure, however, lies considerable strength. THEME The listener is given the opportunity of hearing it twice, in full, at the beginning, starting with one player but soon taken up by the full ensemble. It returns in the middle of the music and is stated again near the end. This has been done quite deliberately in the hope that there will be an appreciation of what material is being developed, by the listener as well as by those with access to the score, who are able to see the visual connections. VARIATION 1 This takes the rhythm of the last part of the theme and also uses the shape of the opening as a recurring figure. The mood is whimsical and skittish, with short, teasing rhythmic figures tossed around the band, and quick interplay with percussion, at a fast tempo. An energetic flourish finishes this variation before the Andante espress. VARIATION 2 This commences with chords related to the opening of Variation 1. The cantabile on solo comets establishes a new, lyrical mood and there is scope for expressive playing in a series of short solo passages. The theme works its way unobtrusively into the texture before a reprise of the solo cornet melody and some more lyrical interchanges between Eb bass, euphonium, flugel horn and comets. The variation ends serenely with clear references to the last phrase of the theme. VARIATION 3 The first idea to dominate is clearly linked to the shape of the theme's first phrase. There is a frenetic feel to much of this variation, with considerable energy and instability created by extensive use of cross-rhythms. A thinning-out of the score marks a clear change to development of the start of the second phrase of the theme. This proves to be short-lived however, and the opening material returns leading to a restatement of the theme, "Maestoso," after which a euphonium cadenza links to Variation 4. VARIATION 4 Here we have some solos for euphonium, cornet, trombone and Eb bass set against a background of horns and baritones presenting a pensive statement of the theme's opening. VARIATION 5 This commences Allegro, with lively work for cornet and euphonium spreading to the whole band before attention focuses on the beginning of the second phrase of the theme which is initially presented in diminution, then in regular rhythm, then in inversion. An increase in tempo coupled with a decrease in volume, requires dexterity and control, with several metrical challenges thrown in for good measure. The same fragment of phrase becomes an ostinato which generates a frenzied climax, punctuated by short, dramatic silence, before the opening figure returns and the music gradually winds down. The tubular bells herald the final return of the theme, in augmentation, marking the start of the Finale. FINALE This features the running semiquavers of the previous variation sounding in counterpoint. A fast, furious coda speeds the work to a conclusion while references to the opening of the theme are still trying to break into the texture of the music. Kenneth Downie
Estimated dispatch 5-14 working days
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