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  • £78.80

    Let There Be Light - Steven Ponsford

    Estimated delivery 10-12 days

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  • £38.60

    LET THERE BE LIGHT - Ponsford Steven

    Estimated delivery 10-12 days

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  • £103.00

    The 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 of the 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 delivery 5-10 days

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  • £79.95

    Waiting for a Pain Hit!??!!? - Paul McGhee

    Waiting For a Pain Hit!??!!? was written during November and December 2006 as an entry in the 2006/07 Swiss Brass Band Association Composers Competition. It was later chosen as the Championship Section set test piece for the 2010 Swiss National Brass Band Championships.The piece originates from sketches for a Brass Quintet which was written whilst I was in my second year of studies at the Royal Welsh College of Music and Drama. The piece, now being much more elaborate both musically and structurally than the original, aims to explore the many various textures available to a large brass ensemble. The aims of the piece, from its earliest stages, were mainly exploration of textures as well as dealing with issues of continuity and whilst the piece certainly contains challenging technical elements, they were not a driving force behind its inception and more organically grew from the primary aims of the piece. I was purposefully looking throughout the writing and editing process to create a piece of music with a seamless, ethereal quality to both the structure and the musical content.There are no 'performance directions' throughout the piece, the reasoning for this is explained below. However, I have spent much time and thought over the tempo markings throughout the piece and the tempos throughout the piece are the desired tempi and care should be taken with these. The tempo markings contained throughout the piece form a vital part of the structure and affect the continuity of the piece. Metronome marks contained within a box show the tempo of the new section in relation to the tempo that precedes it by use of metronome modulations. Any alterations tothe tempo of the section that precedes it will alter the boxed metronome marks.The title of a piece of music, please forgive my generalisation, is to give an insight into 'what a piece is about'. I suppose that this piece is no different, but with the title being slightly abstract I shall resist the temptation to reveal what it means to me. The title, I feel, needs to be open to interpretation along with the music within. That's the way, with this piece especially, I like my music to be. Freedom to find our own meaning and a way to express it from within the score is vital. It is only then that the piece can take on its own identity and grow in ways that even I might not have imagined, revealing different sides to its personality with each performance.Before the music begins I have included some text. Do these words hold the key to the music?! Can they help??!I DON'T KNOW!!!I just like the rhythms, the pulse and the imagery. Hopefully all of this can help to create a picture. But let it be your picture...Paul McGhee, June 2010.

    Estimated delivery 5-7 days
  • £53.00

    Brilliant Beatles

    There have been many arrangements of Beatles' songs for various kinds of ensembles, so rather than just producing a further medley of Beatles' hits, Peter Kleine Schaars has added a new twist to them with this excellent new work. All You Need Is Love and With a Little Help from my Friends pass by in a swing march, Michelle sounds like a newly composed ballad and When I'm Sixty Four is played in Dixie swing style. A Hard Day's Night is transformed into a funk theme with a samba interlude, Let It Be into a slow march, and Ob-La-Di, Ob-La-Da in a rock beat. Experience The Beatles as you have never heard them before.

    Estimated delivery 5-10 days
  • £47.00

    BRILLIANT BEATLES (Brass Band) - Schaars, Peter Kleine

    There have been many arrangements of Beatles' songs for various kinds of ensembles, so rather than just producing a further medley of Beatles' hits, Peter Kleine Schaars has added a new twist to them with this excellent new work. All You Need Is Love and With a Little Help from my Friends pass by in a swing march, Michelle sounds like a newly composed ballad and When I'm Sixty Four is played in Dixie swing style. A Hard Day's Night is transformed into a funk theme with a samba interlude, Let It Be into a slow march, and Ob-La-Di, Ob-La-Da in a rock beat. Experience The Beatles as you have never heard them before. Duration: 7:00.

    Estimated delivery 12-14 days
  • £60.00

    ROYAL FIREWORKS, Music from (Brass Band) - Handel, George Frideric - Blakeson, Don

    Handel's Music For The Royal Fireworks was composed in 1749 to celebrate the signing of the Treaty of Aix-la-Chapelle and the end of the War of the Austrian Succession. The site chosen was the fashionable upper part of St. James Park, which was becoming known at that time as Green Park. The Green Park 'Machine', which housed the pyrotechnics was an elaborate affair adorned with "statues and other figures, festoons of flowers, and other lustres". It was announced that there would be some 10,000 rockets and other devices to be let off, all culminating in a grand, burning sun with 'Vivat Rex' at its centre. There were also rumours that the event was to be accompanied by an impressively large band of military music and mention was made of "40 trumpets, 20 french horns, 16 hautboys (oboes), 16 bassoons, 8 pairs of kettle drums, 12 side drums, a proper number of flutes and fifes; with 100 cannon to go off singly at intervals". It is unlikely that Handel had ever conceived such forces and it was merely the promoter's hyberbole, not least because it was unlikely that there were sufficient numbers of extra military musicians available that could read music, as most played from memory. It is also likely that Handel, and his publisher, were conscious that future performances would be hindered by such forces. The autographed score lists the instrumentation as 9 trumpets, 9 french horns, 24 hautboys, 12 bassoons, 3 pairs of kettle drums and up to 4 side drums. The work is in five movements, although Handel's original score did not indicate in which order they should be played. However, in this score they are arranged to be played as follows: Overture; Bouree; La Paix; Minuets; La Rejouissance. Duration: 19:00

    Estimated delivery 12-14 days

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  • £60.00

    Music for the Royal Fireworks - Don Blakeson

    Handel’s Music For The Royal Fireworks was composed in 1749 to celebrate the signing of the Treaty of Aix-la-Chapelle and the end of the War of the Austrian Succession. The site chosen was the fashionable upper part of St. James Park, which was becoming known at that time as Green Park. The Green Park ‘Machine’, which housed the pyrotechnics was an elaborate affair adorned with “statues and other figures, festoons of flowers, and other lustres”. It was announced that there would be some 10,000 rockets and other devices to be let off, all culminating in a grand, burning sun with ‘Vivat Rex’ at its centre. There were also rumours that the event was to be accompanied by an impressively large band of military music and mention was made of “40 trumpets, 20 french horns, 16 hautboys (oboes), 16 bassoons, 8 pairs of kettle drums, 12 side drums, a proper number of flutes and fifes; with 100 cannon to go off singly at intervals”. It is unlikely that Handel had ever conceived such forces and it was merely the promoter’s hyberbole, not least because it was unlikely that there were sufficient numbers of extra military musicians available that could read music, as most played from memory. It is also likely that Handel, and his publisher, were conscious that future performances would be hindered by such forces. The autographed score lists the instrumentation as 9 trumpets, 9 french horns, 24 hautboys, 12 bassoons, 3 pairs of kettle drums and up to 4 side drums. The work is in five movements, although Handel’s original score did not indicate in which order they should be played. However, in this score they are arranged to be played as follows: Overture, Bour?e, La Paix, Minuets and La R?jouissance. This arrangement has been recorded by the Leyland Band, conducted by Thomas Wyss, and appears on the CD Crown Imperial . A soundclip is available here Item Code: TPBB-039 Duration: c. 19 minutes

  • £49.95

    Illuminate - Andrew Wainwright

    Illuminate was composed for the Chicago Staff Band’s performance at The Salvation Army’s Boundless International Congress 2015 at London’s O2 Arena. The music takes the listener on a journey of a Christian life, a life that is called to be a light in this dark world. The work starts out in optimistic fashion, with various musical pictures describing the joy of someone who has just received Christ into their life. Referencing Matthew 5:14-16, ‘And you beloved, are the light of the world, a city built on a hilltop cannot be hidden. Similarly it would be silly to light a lamp and then hide it under a bowl. When someone lights a lamp, she puts it on a table… and the light illuminates the entire house. You are like that illuminating light.’ (The Voice)Three songs are featured, firstly Shine on us (Michael W. Smith), with references to Speak, O Lord (Keith Getty & Stuart Townend), which is later heard in its complete form in the middle section in a time of reflection. Here there is a plea to ‘Speak, O Lord, as we come to You, to receive the power of Your Holy Word’, before a declaration ‘…That the light of Christ might be seen today in our acts of love and our deeds of faith.’ This time of challenge ends with the poignant promise sounded by Evangeline Booth’s song, The World for God, in the solo flugel horn: ‘The world for God! I give my heart! I’ll do my part!’The final movement is full of unrelenting energy, with references again to Matthew 5:16: ‘Let your light shine everywhere you go, that you may illuminate creation, so men and women everywhere may see your good actions, may see creation at its fullest, may see your devotion to me and may turn and praise your Father in Heaven because of it.’ The song Shine on us returns in full glory as a call to the Lord to ‘Let your light, light of your face, shine on us.’ However, this time the tune is juxtaposed with both The World for God and Speak, O Lord, and the challenge for us all to go out into the world and be shining lights.

    Estimated delivery 12-14 days