Results
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£60.99Crazy Music in the Air - Jacob de Haan
This composition in two parts is one of the first successful works Jacob de Haan published for Brass Band. Somewhat under the influence of Ted Huggen's Choral and Rock Out which was an overwhelming success at the time, the still very young Jacob de Haan wrote this composition. The first part (Air) exists of a choral melody with baroque grace notes, supported by a pop rhythm in the drums. The second part (Crazy Music) is a swinging bossa nova, in which various instrument groups present themselves in the continuously varying themes. The famous Black Dycke Mills Band contributed to the success of Crazy Music in the Air by regularly puttingthe piece on its tour programmes.
Estimated dispatch 5-14 working days
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£76.99Tango for Joe (Trombone Solo with Brass Band - Score and Parts) - Sparke, Philip
Tango for Joe was written for Joe Alessi, principal trombone of the New York Philharmonic. He gave the official premiere with the Brass Band of Battle Creek on 3rd December 2022 at the W K Kellogg Auditorium in Battle Creek, Michigan.Opening with an (optional) unaccompanied recitative for the soloist, Tango for Joe then develops into a slow and sensuous tango, exploring the lyrical properties of the trombone. The opening of this theme is then taken up by the full band but is soon interrupted by a highly decorated version of the melody by the soloist. A further cadenza-like passage then leads to a faster 'tango nuevo' which makes up the majority of the work.A long introduction by the band builds to the first entry of the soloist, who plays the main tango melody over a rhythmic accompaniment. This is taken up briefly by the band but the soloist enters again with his own variation on the theme. After a bridge passage featuring a brief 'question and answer' exchange between the instruments, the soloist then plays a new version of the opening slow tango theme over rhythmic interpolations. After a climax, the soloist presents a long and elaborate cadenza accompanied only by a solo cajon or drum kit. This eventually leads to a repeat of the main theme and , after a short second cadenza, the piece ends with a flourish for band and soloist.Duration: 8.45
Estimated dispatch 7-14 working days
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£183.99Perihelion: Closer to the Sun (Brass Band - Score and Parts) - Sparke, Philip
Perihelion was commissioned by the Cory Band as their own-choice piece for the 2013 European Brass Band Championships, held in Oslo, Norway. Winning the set piece section of the contest and coming second to Eikanger-Bjorsvik Musikklag with their own choice selection, Cory went on to become European Champions for the fifth time. Cory MD Philip Harper had asked for a 'Concerto for Band' to fully exploit his outstanding band of virtuosi, and composer Philip Sparke created a one-movement work with contiguous sections, first featuring horns and flugel, then trombones followed by cornets and a slower central section for percussion and baritones, euphonium and basses. The piece is abstract in nature, without a specific programme, and the title merely reflects the fact that the piece was begun on January 2nd 2013, the day of Earth's perihelion - the point in its orbit when it is closest to the sun. It could also be argued that the piece weaves between moments of brilliant optimism and dark shadow, both of which can be the result of bright sunshine.Duration: 19:15
Estimated dispatch 7-14 working days
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£66.00S.O.S. (Brass Band - Score and Parts) - Kjaernes, Bjorn Morten
When the publisher asked me to make an arrangement of an ABBA tune, S.O.S. was the first song I thought of. Its introduction and melody are well suited to play for band. Admittedly, the key had to be shifted to make it sound good for this instrumentation. To me, this is nostalgia, while for others, the Mamma Mia movie/show will be what they associate with this wonderful song. Apart from a few medleys, few of ABBA's songs are available for band. So, it was very fun to work on this classic.The arrangement is made quite simply to fit many sizes of bands. Technically, it is also relatively simple both in range and rhythm. As you can see, there are many ways to adjust this arrangement to your own ensemble. Bring out melody lines and the bassline, and a lot is done. If needed, simplify to make it sound nice.Get creative and have fun!- Bjorn Morten KjaernesDuration: 3.30
Estimated dispatch 7-14 working days
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£87.99Ten Chorale Preludes (Brass Band - Score and Parts) - Reger, Max - Sparke, Philip
During his short lifetime Max Reger (1873-1916) was a prolific composer with many of his best known works being composed for organ. The ten chorale preludes in this selection are from his set of Thirty Short Chorale Preludes Op.135a composed as short voluntaries for liturgical use rather than for recitals in these arrangements Philip Sparke has kept this in mind and each prelude can be performed with minimal instrumentation for those occasions where a small band is needed. They also make great pieces for band warm-ups or studies in intonation, sound and balance.
Estimated dispatch 7-14 working days
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£15.00Symphony in Two Movements (Brass Band - Study Score) - Gregson, Edward
Selected as the Championship Section test piece for the National Brass Band Championships of Great Britain 2025This work was jointly commissioned by the National Youth Brass Band of Great Britain (NYBBGB) and the National Youth Brass Band of Wales (NYBBW), the latter with funding from T Cerdd (Music Centre Wales), to celebrate their 60th and 30th anniversaries respectively. The first performances were given at Cadogan Hall, London, in April 2012, by the NYBBGB, conducted by Bramwell Tovey; and at the Great Hall, Aberystwyth University, in July 2012, by the NYBBW, conducted by Nicholas Childs.When I was approached about a joint commission to write a new work to celebrate the anniversaries of these two outstanding youth bands I was delighted to accept, and decided to respond by writing a work apposite for the magnitude of these special occasions, namely a 'symphony for brass'.Through a long journey of writing music for brass band, which commenced with Connotations (1977), and continued with Dances and Arias (1984), Of Men and Mountains (1991), The Trumpets of the Angels (2000) and Rococo Variations (2008), I arrived at what I regard as the most important work of the cycle to date, combining as it does serious musical intent with considerable technical demands. It is perhaps my most abstract work for brass band, avoiding any programmatic content.The symphony lasts for some 19 minutes and is structured in two linked movements. The form is based on that used by Beethoven in his final piano sonata (Op.111), which is in two movements only: a compact sonata-form allegro, followed by a more expansive theme and four variations. Prokofiev also adopted this model in his 2nd Symphony of 1925.The opening Toccata of this Symphony is highly dramatic but compact, whilst still retaining the 'traditional' structural elements of exposition, development and recapitulation; indeed, it also has the 'traditional' element of a contrasting second subject - a gentle, lyrical modal melody first heard on solo cornets.In contrast, the longer and more substantial second movement Variations is built around a theme and four variations. The slowly unfolding chorale-like theme accumulates both added note harmony and increasing instrumentation, whilst the four variations which follow are by turn mercurial (fast, starting with all the instruments muted), march-like (menacing, with short rhythmic articulations underpinning an extended atonal melody), serene (a series of 'romances' for solo instruments alongside echoes of the chorale) with an emerging theme eventually bursting into a climax of passionate intent; whilst the final variation is a dynamic scherzo (concertante-like in its series of rapid-fire solos, duets, trios and quartets) with the music gradually incorporating elements of the main ideas from the first movement, thus acting as a recapitulation for the whole work. It reaches its peroration with a return to the very opening of the symphony, now in the 'home' tonality of F, and thus creating a truly symphonic dimension to the music.Most of the melodic material of the symphony is derived from the opening eleven-note 'row', which contains various intervallic sets, and although the work is not serially conceived it does use some typical quasi-serial procedures, such as canons, inversions, and retrogrades. The symphony uses somewhat limited percussion, in line with a 'classical' approach to the sound world of the brass band, alongside a use of multi-divisi instrumentation, whereby each player has an individual part rather than the traditional doubling within certain sections of the band.- Edward GregsonDuration: 19.00
Estimated dispatch 7-14 working days
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£55.00Mr Shilkret's Maggot (Brass Band - Score and Parts) - Holst, Gustav - Hindmarsh, Paul
This short piece was composed in 1932 during a visit Gustav Holst was making to the USA. He was invited by the band leader Nathaniel Shilkret to contribute to a series of piece for concert jazz band based on a folk song. Rather than using a traditional tune, Holst invented one of his own in folk song style and therefore the piece was not performed. Holst considered various titles for the piece including Mr. Shilkret's Dump, Folly and Maggot. On the manuscript he described it as a Jazz Band Piece. When the composer's daughter Imogen re-scored the piece for the English Chamber Orchestra to record under her direction in 1967, she changed decided to use the title Capriccio.Her re-orchestration involved removing the saxophone quartet, adding cor anglais and a second bassoon and changing cornet parts to trumpets. She retained the harp, extensive percussion, piano and celesta. My brass band version is based on the composer's manuscript, held at the British Library. It retains the composer's cornet parts, re-voices the woodwinds and strings, and places keyboards and harp onto glockenspiel, marimba, vibraphone and xylophone.I have selected the title Mr. Shilkret's Maggot for my scoring of Jazz Band Piece, which was first performed by The Cory Band, conducted by Philip Harper, at the Royal Northern College of Music Brass Band Festival, 29 January 2017.- Paul HindmarshDuration: 5.30
Estimated dispatch 7-14 working days
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£107.95Symphony in Two Movements (Brass Band - Score and Parts) - Gregson, Edward
Selected as the Championship Section test piece for the National Brass Band Championships of Great Britain 2025This work was jointly commissioned by the National Youth Brass Band of Great Britain (NYBBGB) and the National Youth Brass Band of Wales (NYBBW), the latter with funding from T Cerdd (Music Centre Wales), to celebrate their 60th and 30th anniversaries respectively. The first performances were given at Cadogan Hall, London, in April 2012, by the NYBBGB, conducted by Bramwell Tovey; and at the Great Hall, Aberystwyth University, in July 2012, by the NYBBW, conducted by Nicholas Childs.When I was approached about a joint commission to write a new work to celebrate the anniversaries of these two outstanding youth bands I was delighted to accept, and decided to respond by writing a work apposite for the magnitude of these special occasions, namely a 'symphony for brass'.Through a long journey of writing music for brass band, which commenced with Connotations (1977), and continued with Dances and Arias (1984), Of Men and Mountains (1991), The Trumpets of the Angels (2000) and Rococo Variations (2008), I arrived at what I regard as the most important work of the cycle to date, combining as it does serious musical intent with considerable technical demands. It is perhaps my most abstract work for brass band, avoiding any programmatic content.The symphony lasts for some 19 minutes and is structured in two linked movements. The form is based on that used by Beethoven in his final piano sonata (Op.111), which is in two movements only: a compact sonata-form allegro, followed by a more expansive theme and four variations. Prokofiev also adopted this model in his 2nd Symphony of 1925.The opening Toccata of this Symphony is highly dramatic but compact, whilst still retaining the 'traditional' structural elements of exposition, development and recapitulation; indeed, it also has the 'traditional' element of a contrasting second subject - a gentle, lyrical modal melody first heard on solo cornets.In contrast, the longer and more substantial second movement Variations is built around a theme and four variations. The slowly unfolding chorale-like theme accumulates both added note harmony and increasing instrumentation, whilst the four variations which follow are by turn mercurial (fast, starting with all the instruments muted), march-like (menacing, with short rhythmic articulations underpinning an extended atonal melody), serene (a series of 'romances' for solo instruments alongside echoes of the chorale) with an emerging theme eventually bursting into a climax of passionate intent; whilst the final variation is a dynamic scherzo (concertante-like in its series of rapid-fire solos, duets, trios and quartets) with the music gradually incorporating elements of the main ideas from the first movement, thus acting as a recapitulation for the whole work. It reaches its peroration with a return to the very opening of the symphony, now in the 'home' tonality of F, and thus creating a truly symphonic dimension to the music.Most of the melodic material of the symphony is derived from the opening eleven-note 'row', which contains various intervallic sets, and although the work is not serially conceived it does use some typical quasi-serial procedures, such as canons, inversions, and retrogrades. The symphony uses somewhat limited percussion, in line with a 'classical' approach to the sound world of the brass band, alongside a use of multi-divisi instrumentation, whereby each player has an individual part rather than the traditional doubling within certain sections of the band.- Edward GregsonDuration: 19.00
Estimated dispatch 7-14 working days
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£57.95Symphony in Two Movements (Brass Band - Score only) - Gregson, Edward
Selected as the Championship Section test piece for the National Brass Band Championships of Great Britain 2025This work was jointly commissioned by the National Youth Brass Band of Great Britain (NYBBGB) and the National Youth Brass Band of Wales (NYBBW), the latter with funding from T Cerdd (Music Centre Wales), to celebrate their 60th and 30th anniversaries respectively. The first performances were given at Cadogan Hall, London, in April 2012, by the NYBBGB, conducted by Bramwell Tovey; and at the Great Hall, Aberystwyth University, in July 2012, by the NYBBW, conducted by Nicholas Childs.When I was approached about a joint commission to write a new work to celebrate the anniversaries of these two outstanding youth bands I was delighted to accept, and decided to respond by writing a work apposite for the magnitude of these special occasions, namely a 'symphony for brass'.Through a long journey of writing music for brass band, which commenced with Connotations (1977), and continued with Dances and Arias (1984), Of Men and Mountains (1991), The Trumpets of the Angels (2000) and Rococo Variations (2008), I arrived at what I regard as the most important work of the cycle to date, combining as it does serious musical intent with considerable technical demands. It is perhaps my most abstract work for brass band, avoiding any programmatic content.The symphony lasts for some 19 minutes and is structured in two linked movements. The form is based on that used by Beethoven in his final piano sonata (Op.111), which is in two movements only: a compact sonata-form allegro, followed by a more expansive theme and four variations. Prokofiev also adopted this model in his 2nd Symphony of 1925.The opening Toccata of this Symphony is highly dramatic but compact, whilst still retaining the 'traditional' structural elements of exposition, development and recapitulation; indeed, it also has the 'traditional' element of a contrasting second subject - a gentle, lyrical modal melody first heard on solo cornets.In contrast, the longer and more substantial second movement Variations is built around a theme and four variations. The slowly unfolding chorale-like theme accumulates both added note harmony and increasing instrumentation, whilst the four variations which follow are by turn mercurial (fast, starting with all the instruments muted), march-like (menacing, with short rhythmic articulations underpinning an extended atonal melody), serene (a series of 'romances' for solo instruments alongside echoes of the chorale) with an emerging theme eventually bursting into a climax of passionate intent; whilst the final variation is a dynamic scherzo (concertante-like in its series of rapid-fire solos, duets, trios and quartets) with the music gradually incorporating elements of the main ideas from the first movement, thus acting as a recapitulation for the whole work. It reaches its peroration with a return to the very opening of the symphony, now in the 'home' tonality of F, and thus creating a truly symphonic dimension to the music.Most of the melodic material of the symphony is derived from the opening eleven-note 'row', which contains various intervallic sets, and although the work is not serially conceived it does use some typical quasi-serial procedures, such as canons, inversions, and retrogrades. The symphony uses somewhat limited percussion, in line with a 'classical' approach to the sound world of the brass band, alongside a use of multi-divisi instrumentation, whereby each player has an individual part rather than the traditional doubling within certain sections of the band.- Edward GregsonDuration: 19.00
Estimated dispatch 7-14 working days
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£164.99Diamond Concerto (Euphonium Concerto No.3) (Euphonium Solo with Brass Band - Score and Parts) - Sparke, Philip
Diamond Concerto was commissioned by Musikverein Morschied from Germany - Dr. Eric Grandjean, conductor - for a special concert featuring Steven Mead as guest soloist. Together they gave the world premiere on 28th April 2012 in the town theatre of Idar-Oberstein. The commission is a highlight in the 30-year friendship between composer and soloist, which has included many mutual CD projects and concerts and, now, a concerto. Sparke had Steven Mead's special euphonium sound in his head throughout the composition process and made free use of the variety of styles which the world-renowned virtuoso has made his own during his highly successful solo career.The village of Morschied lies to the west of Frankfurt am Main in the area known as the German Road of Precious Stones, which is famous for its thriving gem industry. Because of this it was decided to give the commission a local connection by choosing the title, Diamond Concerto. Each of the three movements is named after a famous diamond:Earth Star is rather stern in mood, opening with a free fantasy for the soloist over a static chord from the band. This leads to an Allegro Moderato in minor mode where small motives are gradually repeated and developed by both band and soloist.Ocean Dream uses a varied quote from the composer's Music for Battle Creek, including a melting slow melody that was originally written with Steven Mead in mind.Blue Heart was written, at Steven Mead's suggestion, in bebop style and takes the form of a jazz waltz. The quasi-improvisatory central section features a call-and-response passage for the soloist and upper woodwinds.Duration: 16:45
Estimated dispatch 7-14 working days
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