Results
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£59.50El Camino Real (A Latin Fantasy)
El Camino Real (literally "The Royal Road" or "The King's Highway") was commissioned by, and is dedicated to, the 581st Air Force Band (AFRES) and its Commander, Lt. Col. Ray E. Toler. Composed during the latter half of 1984 and completed in early '85, it bears the subtitle: "A Latin Fantasy."The music is based on a series of chord progressions common to countless generations of Spanish flamenco (and other) guitarists, whose fiery style and brilliant playing have captivated millions of music lovers throughout the world. These progressions and the resulting key relationships have become practically synonymous with what we feel to be the true Spanish idiom. Together with the folk melodies they have underscored, in part derived by a procedure known to musicians as the "melodizing of harmony," they have created a vast body of what most people would consider authentic Spanish music.The first section of the music is based upon the dance form known as the Jota, while the second, contrasting section is derived from the Fandango, but here altered considerably in both time and tempo from its usual form. Overall, the music follows a traditional three-part pattern: fast-slow-fast.The first public performance of El Camino Real took place on April 15th, 1985 in Sarasota, Florida, with the 581st Air Force Band under the direction of Lt. Col. Ray E. Toler.This arrangement for brass band has been made by Frode Rydland.
Estimated dispatch 7-14 working days
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£19.50El Camino Real (Score Only)
El Camino Real (literally "The Royal Road" or "The King's Highway") was commissioned by, and is dedicated to, the 581st Air Force Band (AFRES) and its Commander, Lt. Col. Ray E. Toler. Composed during the latter half of 1984 and completed in early '85, it bears the subtitle: "A Latin Fantasy."The music is based on a series of chord progressions common to countless generations of Spanish flamenco (and other) guitarists, whose fiery style and brilliant playing have captivated millions of music lovers throughout the world. These progressions and the resulting key relationships have become practically synonymous with what we feel to be the true Spanish idiom. Together with the folk melodies they have underscored, in part derived by a procedure known to musicians as the "melodizing of harmony," they have created a vast body of what most people would consider authentic Spanish music.The first section of the music is based upon the dance form known as the Jota, while the second, contrasting section is derived from the Fandango, but here altered considerably in both time and tempo from its usual form. Overall, the music follows a traditional three-part pattern: fast-slow-fast.The first public performance of El Camino Real took place on April 15th, 1985 in Sarasota, Florida, with the 581st Air Force Band under the direction of Lt. Col. Ray E. Toler.This arrangement for brass band has been made by Frode Rydland.
Estimated dispatch 7-14 working days
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£29.95Unity Series Band Journal February 2013 Numbers 402 - 405
No.402 Procession and praise (Andrew Mackereth)Written for an event at Belfast Citadel in November 2011, the tunes included were chosen by the youthful participants themselves!No.403 Suite - Learn, love and Live (Martin Cordner)Written for one of the bands at the 2011 Belfast Temple Music School, the three movements of this suite feature the songs 'Come Fill my cup', 'Such love' and 'Running over' respectively.No.404 Trombone Solo - You can't stop God (Kevin Larsson)Kevin Larsson has take one of his father's tunes and arranged it in the style of a Cuban bolero with the instruction that it is played at 100 beats per minute, or slower!No.405 March - The King's people (Trevor Davis)This march was written for the 125th anniversary of Loughborough Corps and is based on the song 'Come, people of the risen King' which was a particular favourite of the corps.
Estimated dispatch 7-14 working days
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£29.95Judd: Exeter Temple
This march was written for the centenary of Exeter Tempe Corps in 1981 and first played in Exeter Cathedral during those celebrations. While the march is intentionally retrospective, the unashamed absence of modernity receives some splashes of colour from the styles of march 'kings' like Bramwell Coles, Arthur Gullidge, Albert Jakeway and George Marshall.
Estimated dispatch 7-14 working days
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£74.95Music from the Elizabethan Court (Brass Band - Score and Parts)
Contains:The Earle of Oxford's March (William Byrd)Pavane (John Bull)Galliard (John Bull)The King's Hunting Jigg (John Bull)Duration: 10.00
Estimated dispatch 7-14 working days
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£37.95
Music from the Elizabethan Court (Score Only)
A three movement suite: Earl of Oxford's March; Pavane; King's Hunting Jig.
Estimated dispatch 7-14 working days
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£59.95Sinfonietta - Saints and Devils (Brass Band - Score and Parts) - Wiffin, Rob
Saints and Devils is a challenging three movement work:Dance with the Devil (4.30)A Glimpse of Paradise (4.45)Reyes Magos (3.45)I wrote it when I was living in Spain where the Catholic culture is still much more prevalent than in the UK. The first two movements are a transition from dark to light; Dance with the Devil is aggressive and occasionally macabre whereas A Glimpse of Paradise is serene.The first and final parts of the second movement were originally written for a sequence in the Royal Military Tattoo 2000, played under the John Magee poem High Flight - 'Oh I have slipped the surly bonds of Earth ............ Put out my hand, and touched the face of God'- with videos of eagle owls in flight dramatically projected onto the buildings of Horse Guards in Whitehall, London.The last movement, Reyes Magos, is the joyous fiesta of the Three Kings. In Spain, January 6th, rather than Christmas Day, is the main day of present-giving, marking the Epiphany, the arrival of the Kings from the Orient at the Nativity. Saints and Devils is technically and expressively demanding but is written within the realms of tonal language.- Rob WiffinDuration: 13.00
Estimated dispatch 7-14 working days
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£34.95
COVENANTERS, The (Brass Band Set) - Kenneth Downie
In 1638, many members of the Presbyterian Church of Scotland signed a document called the National Covenant. By doing so, they were declaring that they acknowledged only Jesus Christ as the spiritual head of their church, and not any king or queen. This had become necessary because the Stuart kings believed in the Divine Right of Monarchs and saw themselves as head of the church. In the previous year, Charles I had forcibly introduced the Book of Common Prayer, invoking the wrath of the common people who faced the threat of torture, transportation or execution if they did not use the new liturgy and worship at their local church. The net result of this was that many met illegally in the countryside or in barns and large houses. These meetings became known as 'conventides' and many took place in the south-west of the country. Anyone caught attending was at risk of execution by the muskets of the dragoons who were employed in the area for that specific purpose. This music was written to honour the bravery and loyalty of these Christians to their faith, in the face of extreme danger, in the hope that it will inspire us also to be faithful. There are overtones of military threat, secrecy and solidarity. An old pentatonic tune is used, which the composer heard as a boy being sung to the words The Lord's My Shepherd.
Estimated dispatch 7-14 working days
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£89.95
INFINITY (Brass Band Set) - Robert Redhead
In the post-modern age in which we live, 'absolutes' are difficult for many to comprehend. Yet infinity, which means absolute, total, all-embracing, having no limits or boundaries in time, space, extent, or magnitude, has always been central to the Christian's concept of God.Through the ages, as human understanding has grown, particularly at a remarkable rate from the latter part of the twentienth century, Christianity has been continually challenged to interpret traditional beliefs in the light of new discoveries, but always within the reality of the infinite Being. In addition, scripture tells us that 'humanity was made in God's image'. Humankind is part of God's creation and as such, responsible for its upkeep. Such a commission has never been more relevant than in this present age. Psalm 8 creates a great picture of the majesty, eternal, infinte quality of God and yet reveals the desire of God to share in spirit with humankind. It recognises humankind as being, not a tool of the infinite, but as a creative contributing part of the ongoing movement and activity of the infinite. The music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality. It is not based on the Psalm but reflects some of the sentiments lying therein. The 'hymn-like' theme expresses the nature of the Divine using the Old Testament image of the infinite God coming to finite humankind, not in the 'wind', the 'earthquake', the 'fire', but in the 'still small voice' of quietness (1 Kings 19: 11-13). The ensuing musical development, in different styles and patterns, expresses this continual link between infinite and finite. Thus the conclusion, rather than being a symbol of might, power and magnificence, reflects the same sentiment as the opening.
Estimated dispatch 7-14 working days
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£10.00
INFINITY (Brass Band Study Score) - Robert Redhead
In the post-modern age in which we live, 'absolutes' are difficult for many to comprehend. Yet infinity, which means absolute, total, all-embracing, having no limits or boundaries in time, space, extent, or magnitude, has always been central to the Christian's concept of God.Through the ages, as human understanding has grown, particularly at a remarkable rate from the latter part of the twentienth century, Christianity has been continually challenged to interpret traditional beliefs in the light of new discoveries, but always within the reality of the infinite Being. In addition, scripture tells us that 'humanity was made in God's image'. Humankind is part of God's creation and as such, responsible for its upkeep. Such a commission has never been more relevant than in this present age. Psalm 8 creates a great picture of the majesty, eternal, infinte quality of God and yet reveals the desire of God to share in spirit with humankind. It recognises humankind as being, not a tool of the infinite, but as a creative contributing part of the ongoing movement and activity of the infinite. The music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality. It is not based on the Psalm but reflects some of the sentiments lying therein. The 'hymn-like' theme expresses the nature of the Divine using the Old Testament image of the infinite God coming to finite humankind, not in the 'wind', the 'earthquake', the 'fire', but in the 'still small voice' of quietness (1 Kings 19: 11-13). The ensuing musical development, in different styles and patterns, expresses this continual link between infinite and finite. Thus the conclusion, rather than being a symbol of might, power and magnificence, reflects the same sentiment as the opening.
Estimated dispatch 7-14 working days
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