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£29.95Unity Series Band Journal February 2014 Numbers 414-417
No.414 March - Zambia Salute (Paul Drury)In April 2009, a group from Chelmsford Citadel Corps visited Zambia. The purpose of the visit was to assist in the leadership of the Zambian Territorial Music School, held at Chikankata. This march was written to commemorate the event and received its premiere performance at the final festival. The melody featured is the chorus of the song, I know not why Dod's wondrous grace (S.A.S.B. 730).No.415 A Joystrings sing-along (Erik Silfverberg O.F.)This piece represents the first published work since the sudden Promotion to Glory of Bandmaster Erik Silfverberg O.F. The Joystrings made Salvation Army history about fifty years ago, introducing rock music on the Christian music scene. Many of their songs have become classics and have been used as thematic material in our brass music. Here is a selection of three of their songs, to be used either as a band piece or as accompaniment to a sing-along. The three songs are:- 'I want to sing it', 'It's an open secret' and 'Have faith in God'.No.416 Festival Arrangement - At the cross (Martyn Thomas)The well-known song, 'At the cross' (T.B. 580), is given a lively new setting by Martyn Thomas. The rock and swing treatment of this old melody should appeal to many!No.417 Lord of all (Martin Cordner)This piece was written for the 120th Anniversary of Balham corps (London Central Division) in 2011. In terms of a theme, the anniversary occasion prompted the primary thought that the piece should first be a praise-offering to God, acknowledging him for who he is. Therefore songs referenced in the piece are praide songs: 'Lord, reign in me', 'He is Lord', 'All hail the Lamb', along with a song of testimony, 'I'm a soldier bound for Glory' (T.B. 382),which speaks of the Christian hope in Heaven and challenges Salvationists to influence others by living out that hope. There is also a brief reference to the National Anthem of the Democratic Republic of Congo (4 bars before D)- man acknowledgement to the faithfulness of corps soldiers who in recent years have arrived from that country.
Estimated dispatch 7-14 working days
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£34.95Judd: Clear Skies
A 'timeless' cornet solo from the pen of Eric Ball, utilising the charming, lyrical melody of the same name. Its traditional theme and variation construction and its relative popularity should not lull the soloist into believing it to be easy - for soloist or band.
Estimated dispatch 7-14 working days
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£44.95Judd: Trailblazers
This overture draws its inspiration from the story of the first Household Troops Band. It tells the story of the 1887 band, the subsequent lull of nearly a hundred years and the re-awakening of the Troops phenomenon in 1985. It was originally written in 1995 and featured prominently by the band on its North American tour of 2002. Given the history of the Household Troops Band, it is fitting that this composition is preoccupied with marching. It begins with a marching song played by a solitary muted cornet, symbolic not only of the call to bandsmen to join the evangelical effort but also a muso-dramatic device to indicate the steady increase in members and technical ability! The music quickly develops into stirring versions of 'A robe of white' and 'Storm the forts of darkness' with two early day Salvation Army tunes crucially adding to the narrative; 'Marching on in the light of God' and 'Soldiers of our God, arise!' The second section is a reflective setting of the Herbert Booth song, 'The penitent's plea'. This song serves to represent the many people who were 'saved' during those early day campaigns. The expressive music transports the listener through a period of uncertainty and angst until finally reaching the song, 'There is a message, a simple message, and it's a message for us all'. The final section deals first with the emergence from the annals of history with the muted cornet figure again before, symbolically, the present day band bursts forth with an emphatic statement of 'Would you be free from your burden of sin? There's power in the blood'. The stirring climax represents a fitting tribute to those gallant pioneering musicians and their equally impressive and dedicated contemporaries.
Estimated dispatch 7-14 working days
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£94.00Montage (Brass Band - Score and Parts)
Each of the movements of the symphony take as their starting point forms originating in music of the 16th and 17th centuries.The first, an intrada, introduces the main thematic material (based on the interval of a minor third) in its embryonic state. As the piece progresses, this material is developed and manipulated in a variety of ways. The interval of the third remains central to the overall scheme of the work, even unifying the three movements on a tonal plane (I: F (minor); II: A flat (major); III: C flat (minor). The internal structure of the intrada is an arch form: ABCBA, roughly modelled on the first movement of Concerto for Orchestra by Witold Lutoslawski, to whose memory the movement is dedicated.A chaconne follows - the basic material now transformed into expansive solo lines underpinned by a recurring sequence of five chords (again, a third apart). The movement's structure combines both ternary form and golden section principles and the chaconne's continuous cycle of chords may be visualised as circles.The final movement, a rondo, bears the dramatic weight of the entire work, as the underlying tonal tensions surface. A musical journey ensues, making diversions through lyrical territories as well as through more spiky, jazz-flavoured ones. The aural (and visual) montage is perhaps most apparent towards the climax of the piece, where three keys and polyrhythms sound simultaneously in the upper brass, xylophone, horns, and timpani. The climax itself combines the lyrical music heard earlier with the rondo theme, now presented by cornets and trombones in canon.The teleological thrust of the movement (if not the entire work) can be symbolized by the flight of an arrow, as it steers a predetermined course towards its target.
Estimated dispatch 7-14 working days
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£33.00Lux Aeterna (Score and Parts)
The title Lux Aeterna (Eternal Light) can be interpreted on a number of levels. Musically it has a rather mystical feel to it, and the single note with which the piece begins continues uninterrupted throughout, like an inextinguishable flame, or a constant source of hope. There are lyrical and song-like solo lines for cornet, flugel and euphonium. In a recent review Paul Hindmarsh described the piece as a touching new work by Philip Harper that would have got my vote for best new work for its technical ingenuity if not its 'wow factor'.
Estimated dispatch 7-14 working days
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£36.19Love Divine (Blaenwern) (Brass Band) William Rowlands arr. Kenneth Downie
This delightful setting for brass band by Kenneth Downie is based on the much loved hymn Love Divine, All Loves Excelling, alternatively known as Blaenwern. An optional organ part which will enhance the last verse is included. Kenneth Downie writes: 'It has been a delight to work on this wonderful Welsh hymn tune called Blaenwern, a tune which perfectly suits the majestic words by Charles Wesley, 'Love divine, all loves excelling'. This hymn is all about a big, expansive, all-embracing God, and I have tried to capture this aspect of the words. The rising interval in the introduction is an important feature in developing the notion of a 'big God', and its reappearance near the end is intended to be very significant. The hymn is full of memorable phrases which will hopefully inspire players, singers and conductors as they contemplate the text in preparation for any performance. 'Joy of Heaven, to earth come down', 'Enter every longing heart', 'Finish then thy new creation', and then the last amazing four lines: 'Changed from glory into glory, Till in Heaven we take our place, Till we cast our crowns before thee, Lost in wonder, love and praise'. The addition of the organ in the last verse, by special request of Peggy and Scott Thomas who commissioned the arrangement, should add to the majesty of the music, but of course, it is not fundamental to any performance. May this music bring honour to our amazing God!' To view a rolling score video of this work please visit www.youtube.com/watch?v=y4dM0fZaVug Sheet music available from www.brassband.co.uk Difficulty Level: 4th Section + Length: 4.00 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 1-2 Organ (optional)
In stock: Estimated dispatch 1-3 days
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£68.37Temperamental (Brass Band) Fendall Hill
This work by Fendall Hill was the set test for the 2021 National Brass Band Championships of New Zealand, B Grade. The composer writes: 'J.S. Bach (1685-1750) is deemed by many to be the 'Ulimate Composer'. He added an incredible proportion to the DNA of western music, and his influence is heard in the music of today. Like many artists, he was not overly recognised as a composer during his lifetime, and it took an 1829 performance of the St Matthew Passion by Mendelssohn to ignite a recognition of his place in the music world, a place he has maintained ever since. This piece starts with a similar spark of rediscovery of the music of Bach. It contains arrangements of various works, interspersed with composition based on Bach's chord structures, sections in the style of Bach, and original sections inspired by the moods created along the way. The first section explores the Toccata, and great organ works. This leads into an exploration of his choral works, and a finale based on the Preludes. The word 'Tempered' has different meanings, and all seem to apply to the music of Bach, and these appeal to the musical, engineering and spiritual aspects of my personal life. His music reaches to the humanity and divinity, it has strength, structure and order that creates frameworks in which incredible complexity reigns; and the complexity leads to a wildness, a kind of craziness that represents a range of human moods, and can change without warning. The same piece of music affects people in very different ways. I don't know if it's Bach's music, or us, but it can seem out of control and under control at the same time - the combination is highly temperamental. To view a follow-the-score video of the work please visit: https://youtu.be/zpNxITUqXZU Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Difficulty Level: 1st Section + Instrumentation: Soprano Cornet Eb Solo Cornet 1&2 Bb Solo Cornet 3&4 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 1-4
In stock: Estimated dispatch 1-3 days
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£34.95Vissi d'arte - Christopher Bond
Vissi d'arte is a soprano aria from act 2 of the opera Tosca, by Giacomo Puccini. It is sung by Floria Tosca in total anguish, in the form of a prayer to God, asking 'why he rewards her thus?'. Just before the aria is performed (and the reason for its presence) Baron Scarpia, the chief of police, tells Tosca that in order to save her lover Cavaradossi's life, she must sleep with him. Vissi d'arte is Tosca's cry of anguish; she reasons that although she has never done anything wrong, she is still being faced with an impossible choice: either way, she will have to betray Cavaradossi, in the form of sleeping with another man, or not doing everything she could to save his life. This arrangement was made for Rose Hancock and City of Cardiff (Melingriffith) Brass Band for their performance at the 2020 Welsh Open Entertainment Contest.
Estimated dispatch 5-10 working days
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£25.00Ariel
DescriptionAll hail, great master! Grave sir, hail! I comeTo answer thy best pleasure, be 't to fly,To swim, to dive into the fire, to rideOn the curled cloud. To thy strong bidding, taskAriel and all his quality.- William Shakespeare: The Tempest, Act 1, Scene 2Ariel was written for the Hammonds Band to open their programme at the 2019 Brass in Concert Championships at The Sage Concert Hall in Gateshead, where it received its premiere. The title is taken from the character in Shakespeare's play 'The Tempest'. Ariel is an immensely powerful "air spirit" or demon bound to serve Prospero, the exiled Duke of Milan, after being released by Prospero from imprisonment in a tree. In the play Ariel's magical abilities are used to help Prospero revenge himself on his enemies and reclaim his dukedom, whereupon Ariel finally regains his freedom.You can hear an audio preview and follow the score below:Performance notes:The cornets and horns are split into two "choirs" to be placed left and right of the band. It may be possible for the choirs to play their opening flourish offstage, and the optional repeated sections in the opening are to accommodate stage movement if required. Trombones form a third "choir" which should ideally stand centrally between basses and percussion, and the euphoniums and baritones should sit in front of the basses. The work requires four percussionists, although if four are not available the 2nd part may be omitted.Percussion 1: Kit - bass drum, snare, 3 x toms, hi-hat, suspended cymbal - and 3 x temple blocksPercussion 2: Tam tam and orchestral bass drum.Percussion 3: Glockenspiel and timpaniPercussion 4: Tubular bellsSoprano, solo cornets and 3rd cornets require cup mutes. Solo trombone requires a cup mute, second trombone requires a metal straight mute.
Estimated dispatch 7-14 working days
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£12.00Ave Maria
DescriptionJohann Sebastian Bach (1685 - 1750) was a German composer and musician of the Baroque period. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and over three hundred cantatas of which approximately two hundred survive. His music is revered for its technical command, artistic beauty, and intellectual depth. Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.Charles-Francois Gounod (1818 - 1893) was a French composer, best known for his Grand Operas, most famously 'Faust', written in 1859 and his 'St Cecilia Mass' written in 1854. However possibly his most performed work is his arrangement of the latin text Ave Maria based on a work by Bach.You can listen to a computer realisation of the score while following the music below:
Estimated dispatch 7-14 working days