Searching for Wind Band Music? Visit the Wind Band Music Shop
We've found 124 matches for your search. Order by

Results

  • £49.95

    Blaze - Phil Lawrence

    Cornet/trumpet sounds have been changing for some years; they are becoming heavier, more robust, slower vibratos. The dynamic level now pushed out by your average solo cornet is 30% more than it was some 35/40 years ago. This, is mainly due to the bore size of instruments and mouthpiece sizes (as in bigger), and, demands of modern day works for band on the player/soloist, and of course a greater demand of styles on the player, and progressive teaching methods. The technical styles in Blaze are about these changes.In Blaze I have clearly blended symphonic blowing styles of the trumpet plus the virtuosic attributes of today's modern cornet player. Many solo cornets parts (more past than present) in band are often clearly defined between low A and top C above the stave. Orchestral trumpet players need a working range of another fourth at either end of this defined range; I have incorporated this range into the concerto. The low register is much explored, and the average tessitura throughout is constantly varied below and above the stave from pedal Eb to super F# opt. The ideology of this blend of course makes sense as the original dedication is to Rod Franks, LSO, and of course blending with that is Rod's history at Black Dyke Mills Band.The concerto is ten minutes long and in one movement comprising of four sections and one solo cadenza, with one section only appearing once, an episode. This singular section was a revised addition and dedicated to Richard Marshall who gave the first premier in New Zealand in June 2003. For the purists the form is thus, A, B, A (vari), C (episode). D (slow movement), E (3/8 episode 1), D (vari), E, (episode 2). A (last move), B, A (developed) = (coda finale).The compositional style? Well, I hope quintessentially, 21st C English with an element of nostalgia (modal/old English). There are some hints at jazz playing styles and rhumba, but romantic English I would say, and especially the slow movement.Blaze is also very bold; the title itself reflects this, full of bravura and constant amazement, offering little respite for the soloist and sapping much stamina. The opening statement from the soloist is without accompaniment; just as a matador stands alone in the ring for the first few seconds, and looks at the mass crowd in defiance, he thinks, "you are here to see me die", so the soloist stares the audience back in the face, and opens with the richest, largest sound (not loudest) one can muster, thus throwing the gauntlet down to the ears of all who might disbelieve what they are about to encounter, a gladiatorial cornet, a Blaze from the stage.For the soloist, it is a non-stop Blaze of sound, electrifying technique, sage-like musicianship, super-human stamina and sheer matador-like bravura with 10th Dan mastery of over-all control, a test beyond the reasonable. And for the audience? Of course, a BLAZE never to be forgotten. Phil LawrenceThis work can be heard performed by cornet soloist Richard Marshall & the Grimethorpe Colliery Band on their award winning album entitled 'BLAZE'

    Estimated delivery 3-5 days
  • £29.95

    JUST AS I AM (Brass Band Set) - Wilfred Heaton

    A typically dramatic 'classic' by Heaton. Published in 1947 but written many years before, this timeless composition is more than 'just a hymn setting' - more a miniature Tone Poem of real Heaton intensity. Immensely popular for both SA and 'contesting' bands and featured on no less than 6 recordings in this catalogue.

    Estimated delivery 5-10 days
  • £29.95

    Just As I Am (Brass Band - Score and Parts) - Heaton, Wilfred

    A typically dramatic 'classic' by Heaton. Published in 1947 but written many years before, this timeless composition is more than 'just a hymn setting' - more a miniature Tone Poem of real Heaton intensity. Immensely popular for both SA and 'contesting' bands and featured on no less than 6 recordings in this catalogue.

    Estimated delivery 5-10 days
  • £14.95

    Just As I Am (Brass Band - Score only) - Heaton, Wilfred

    A typically dramatic 'classic' by Heaton. Published in 1947 but written many years before, this timeless composition is more than 'just a hymn setting' - more a miniature Tone Poem of real Heaton intensity. Immensely popular for both SA and 'contesting' bands and featured on no less than 6 recordings in this catalogue.

    Estimated delivery 5-10 days
  • £29.95

    Judd: Just As I Am

    A typically dramatic 'classic' by Heaton. Published in 1947 but written many years before, this timeless composition is more than 'just a hymn setting' - more a miniature Tone Poem of real Heaton intensity. Immensely popular for both SA and 'contesting' bands and featured on no less than 6 recordings in this catalogue.

    Estimated delivery 7-14 days
  • £49.99

    Rosanna - David Paich

    In 1982, rock band Toto scored a worldwide hit with Rosanna. This song is more than five minutes long, much longer than was usual for hits at the time, though perhaps it was exactly this fact that contributed to its enormous success. The London arranger Mike Sheppard, who knows the pop and rock scene through and through, made a wonderfully colourful version of this rock standard.

    Estimated delivery 5-10 working days

     PDF View Music

  • £65.00

    Londonderry Air

    The pipes, the pipes are calling! In this brass band arrangement of Londonderry Air, the sound is magical and lyrical, and is more than just a standard romp through the melody.The arrangement culminates in a powerful rock ballad, before closing down with a deep and dark major chord.Londonderry Air is also more commonly known as Oh Danny Boy.

    Estimated delivery 5-7 days
  • £29.95

    Rise of the Firebird - Steven Reineke - Christian Jenkins

    Originally written for concert band, this dynamic piece contrasts energetic fanfares with more lyrical sections to produce a bold concert opener.A native of Ohio, composer Steven Reineke is one of America's most sought-after pops conductors, composers and arrangers. He is Music Director and Conductor of The New York Pops at Carnegie Hall, the newly appointed Principal Pops Conductor of the Toronto Symphony Orchestra and Principal Pops Conductor of the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts in Washington D.C. and is a frequent guest conductor with numerous other orchestras.As the creator of more than one hundred orchestral arrangements for the Cincinnati Pops Orchestra, Mr. Reineke's work has been performed worldwide, and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. His symphonic works Celebration Fanfare, Legend of Sleepy Hollow and Casey at the Bat are performed frequently in North America. His Sun Valley Festival Fanfare was used to commemorate the Sun Valley Summer Symphony's pavilion, and his Festival Te Deum and Swan's Island Sojourn were debuted by the Cincinnati Symphony and Cincinnati Pops Orchestras. His numerous wind ensemble compositions are published by the C.L. Barnhouse Company and are performed by concert bands around the world.

    Estimated delivery 3-5 days
  • £59.95

    Connotations (Brass Band - Score and Parts) - Gregson, Edward

    Connotations was commissioned for the 1977 National Brass Band Championship finals, held in the Royal Albert Hall, London (the winner, incidentally, of that particular competition was the famous Black Dyke Mills Band).At the age of 32 Gregson was the youngest composer to have received the honour of such a commission. It came at the end of a productive five years writing for the brass band publisher R Smith. Some of those works – The Plantagenets, Essay and Patterns for example, with their direct and tuneful style, have remained popular with brass bands the world over.For Gregson, these were the means by which he sharpened the tools of his trade, preparing the ground, as it were, for his finest work to date – Connotations. He thought of calling the piece Variations on a Fourth, but with due deference to Gilbert Vinter perhaps (Variations on a Ninth), he chose a more appropriate one. As Gregson has written, ‘Connotations suggests more than one way of looking at something, an idea, and this is exactly what the piece is about’.Writing a competition piece brought its own problems. ‘It has to be technically difficult and yet musically satisfying. I didn’t like being kept to an eleven-minute maximum. The inclusion of short cadenzas for less usual solo instruments seems to signify a certain test-piece mentality’.Gregson solved the problems admirably by adopting a symphonic approach to variation form: Introduction – fanfares, a call to attention, in effect Variation 1; Theme – a six-note motif, given a lyrical and restrained first statement; Variation 2 – a delicate toccata; Variation 3 – typically robust in melody and rhythm; Variation 4 – lyrical solos; Variation 5 – a scherzo; Variation 6 – cadenzas; Variations 7-9 – an introduction, fugato and resounding restatement of the theme.Duration: 10.30

    Estimated delivery 5-10 days

     PDF View Music

  • £29.95

    Connotations (Brass Band - Score only) - Gregson, Edward

    Connotations was commissioned for the 1977 National Brass Band Championship finals, held in the Royal Albert Hall, London (the winner, incidentally, of that particular competition was the famous Black Dyke Mills Band).At the age of 32 Gregson was the youngest composer to have received the honour of such a commission. It came at the end of a productive five years writing for the brass band publisher R Smith. Some of those works – The Plantagenets, Essay and Patterns for example, with their direct and tuneful style, have remained popular with brass bands the world over.For Gregson, these were the means by which he sharpened the tools of his trade, preparing the ground, as it were, for his finest work to date – Connotations. He thought of calling the piece Variations on a Fourth, but with due deference to Gilbert Vinter perhaps (Variations on a Ninth), he chose a more appropriate one. As Gregson has written, ‘Connotations suggests more than one way of looking at something, an idea, and this is exactly what the piece is about’.Writing a competition piece brought its own problems. ‘It has to be technically difficult and yet musically satisfying. I didn’t like being kept to an eleven-minute maximum. The inclusion of short cadenzas for less usual solo instruments seems to signify a certain test-piece mentality’.Gregson solved the problems admirably by adopting a symphonic approach to variation form: Introduction – fanfares, a call to attention, in effect Variation 1; Theme – a six-note motif, given a lyrical and restrained first statement; Variation 2 – a delicate toccata; Variation 3 – typically robust in melody and rhythm; Variation 4 – lyrical solos; Variation 5 – a scherzo; Variation 6 – cadenzas; Variations 7-9 – an introduction, fugato and resounding restatement of the theme.Duration: 10.30

    Estimated delivery 5-10 days

     PDF View Music