Results
-
£44.95Meditation (from the Triumph of Time) (Flugel Horn and Baritone Duet with Brass Band)
Meditation is the central theme from The Triumph of Time, a work commissioned for The Black Dyke Band by Music Director Nicholas Childs. The original brief was for a piece which would showcase the talents of the band's many fine soloists, among them Zoe Hancock on Flugel horn and Baritone soloist Katrina Marzella. This extract brings both instruments together in an extended stand-alone arrangement.Although scored for Flugel and Baritone, a number of options can be explored at the discretion of the conductor (eg. Flugel/Cornet and Euphonium/Trombone; two Bb Cornets etc. in which case cued lines in the Solo Horn and Soprano cornet parts may be played).Duration: 05:00
Estimated dispatch 7-14 working days
-
£96.99Beecher Variations (Brass Band - Score and Parts)
In this beautiful composition, melodic fragments of the hymn tune Beecher are morphed into a series of variations, showing the melody in various moods from expressive, then quiet and soft, to bright and triumphant in the end. Written as a test piece in the 4th division for the Dutch Brass Band Championships in 2015, the music features challenging solo parts for cornet, soprano cornet, flugelhorn and euphonium. A great work for the concert or contest stage!Duration: 12.00
Estimated dispatch 7-14 working days
-
£38.95Unity Series Band Journal October 2014 Numbers 422 - 425
No. 422 March - Jubilant Day! (Harold Burgmayer)This accessible march was written for the small, but faithful, corps band in Lock Haven, Pannsylvania, USA, on the occasion of the corps' 125th anniversary.No. 423 Euphonium Solo - Abide with me (Martin Cordner)A sensitive three-verse setting of William H. Monk's well-known tune for Euphonium and band.No. 424 March - God's Faithfulness! (Howard Davies)This march was written to assist celebrations for a recent Salvation Army Congress held in the Indonesian Territory. The music is deliberately written in the style of a 'parade (or street) march' with a steady and unhurried tempo.No. 425 Song Arrangement - Oi, oi, we are gonna praise the Lord! (Doug Engle)This chorus by Doug Horley uses some 'invented' words, but it clearly communicates how our response should be to a God who loves us.
Estimated dispatch 7-14 working days
-
£45.00Lament (Brass Band - Score and Parts)
The English composer Frank Bridge (1879 - 1941) did not take an active part in the First World War. However, he was devastated by the slaughter on the western and the eastern fronts, especially the loss of so many of his musicians friends and colleagues. Writing in 1963, his former pupil Benjamin Britten confessed that 'a lot of my feelings about the First World War which people seemed to see in the War Requiem came from Bridge. He had written a piano sonata in memory of a friend killed in France and though he didn't encourage me to take a stand for the sake of a stand, he did make me argue and argue and argue. His own pacifism was not aggressive, but typically gentle'.Bridge composed this Lament for string orchestra on 14 June 1915, in memory of Catherine Crompton, who drowned when the Cunard liner Lusitania was torpedoed by a German submarine on 7 May, 1915. According to figures researched by Liverpool historian Kevin Roach (www.lusitania.net), 1201 men, women and children lost their lives out of the 1962 people aboard. Ninety-four children died, including Catherine, her twin brother Paul and four other siblings. Paul Crompton, Snr. (44), a British businessman working in Philadelphia, his wife Gladys (40) and the family nanny were also drowned. How Bridge's dedication came about is uncertain. The music critic Edwin Evans, who knew Bridge well, has written that the Catherine was a young friend. It is also possible that he came across the family photograph which was published in many newspapers in the wake of the tragedy. By that time, Bridge was greatly distressed by the war as a whole. It seems perfectly in keeping with his pacifist leanings and the strength of his reaction, that this poignant and deeply touching 'war memorial' should mourn a child who he did not know, rather than one of the thousands of young men who fell in battle.Through the musical tears of this melancholy lullaby, Bridge may have regarded the death of young Catherine Crompton as symbolic of the loss of so many innocent lives in wartime. His response to this personal tragedy was characteristically spontaneous and utterly sincere. It is one of his most effective miniatures, poignant yet restrained in its lyrical beauty, with a compelling directness and simplicity of construction.This brass band transcription is pitched one tone lower than the original for string orchestra.- Paul HindmarshDuration: 5.00
Estimated dispatch 7-14 working days
-
£60.00General Series Band Journal August 2014 Numbers 2134-2137
No. 2134 Festival March - Troops Salute (Paul Sharman)Written to mark the retirement of Major John Mott as Bandmaster of the Household Troops Band in 2010, this march features the tunes 'Are you washed?' and 'There's only one flag for me'. No. 2135 Songs of Salvation (Andrew Mackereth)This piece was written for Haaglanden Band in the Netherlands and contains some old Salvation Army Songs; 'Ring the bell, watchman' (T.B. 776), 'Make no delay' (T.B.730), 'Room for Jesus' (T.B. 395), 'Tell me the old, old story' (T.B. 265) and 'Praise God, I'm saved' (T.B. 770).No. 2136 Shepherd's Carol (Dean Jones arr. Kenneth Downie)Originally published in November 1955, this lovely carol was written by father and son, Dean and Henry Goffin, both of whom were Salvation Army officers. Commissioner Sir Dean Goffin was awarded his kinghthood in the Queen's Honours list of 1983No. 2137 On High! (Martin Cordner)Taking its inspiration from the world of rock music, this piece features the song, 'Lord, I lift your name on high'.
Estimated dispatch 7-14 working days
-
£45.00Triumph Series Band Journal March 2014 Numbers 1247-1250
No.1247 March - Spirit of Darwin (Noel Jones)This march was written as a tribute to Majors Hilton and Wilga Morris for the wonderful ministry they provided as reginal officers. It includes two well-known Salvation Army songs; 'Ever is the War Cry, Victory, Victory!' and'O My Heart is Full of Music and of Gladness'.No. 1248 Duke Street Variations (Andrew Mackereth)A set of variations on the well-known tune 'Duke Street', written at the request of Young People's Bandleader Andrew Laird for the centenary weekend of the Clydebank YP Band in 2012. No.1249 Prelude - Thank you, Lord (David Rowsell)A prelude based on the chorus 'Thank you , Lord for saving my soul'.No. 1250 Turn Your Eyes Upon Jesus (Howard Davies)A setting of the well-loved melody 'Turn your eyes upon nJesus', which also incorporates the tune 'Open our eyes, Lord'.
Estimated dispatch 7-14 working days
-
£38.95Unity Series Band Journal October 2013 Numbers 410 - 413
No. 410 March - Go Forth! (Paul Drury)This march was written as a tribute to Bandmaster Jack Spowart and the Bo'ness Salvation Army Band. The composer lives in the twon of Bo'ness and has had numerous opportunities to share with the band and the wider corps at various events. This march serves as recognition of the faithful service given in the Lord's name in the town by The Salvation Army for over 100 years. Two tunes are featured, both well-known and instantly recognisable, namely, Forward! be our watchword and We're marching on.No.411 (1) O give thanks (Marian Parker)The composer, Marian Parker, is a new contributor and is the Recruiting Sergeant at Leicester South Corps. This simple, yet rhythmic piece should not pose any technical problems for most bands and features the attractive arrangement of Joanne Pond's contemporary song, 'O give thanks'.No.411 (2) Hymn Tune Arrangement - St Michael (David Rowsell)The hymn tune 'St Michael' was composed in 1551 by French composer Louis Bourgeois and the composer provides a very useful arrangement of this historic hymn.No. 412 Precious Lord, take my hand (Erik Silfverberg O.F.)This well-known Gospel Song is a favourite of many. It has been recorded by many great artists, including Rosetta Tharpe, Elvis Presley and Aretha Franklin. The words were written by Reverend Thomas A. Dorsey, who is often known as the 'Father of Gospel song'.No. 413 Search Me (Gavin Whitehouse)The second new contributor to this journal is Gavin Whitehouse. gavin is the Assistant Music Director for the Greater New York Division and is also the USA Eastern Territorial Songster Leader. This piece combines two songs - one old and one new - which speak of a God who knows us intimately. 'Search me, O God and know my heart today' (associated with the beautiful Maori melody, 'Now is the hour') is woven with a contemporary setting of Psalm 139 by Rebecca St James, the first line of which says, 'You searchme, you know me'.
Estimated dispatch 7-14 working days
-
£39.95You've Been Warne'd (Brass Band - Score and Parts)
One of David's favourite styles of music was swing music and in particular big bands. With this piece, I have composed it in a big band swing style with the sole intention when performing it - to have a lot of fun!There is opportunities for various soloists to play their respective solos stood up and facing the audience. There is finger clicking and clapping throughout the piece and there is even an opportunity for all the band to sing. With a catchy hook line and walking bass this piece should provide plenty of musical enjoyment for both player and audience member.Paul Lovatt-Cooper Suitable for 3rd Section Bands and above
Estimated dispatch 7-14 working days
-
£39.95When Thunder Calls (Brass Band - Score and Parts)
When Thunder Calls was commissioned by Dr Nicholas Childs and the Black Dyke Band for their performance at the Gala Concert of the Swiss Open Championships in September 2011. When composing this piece, I decided to focus on both the music and the stage presentation. The way the piece has been composed and designed makes it a very effective way of starting a concert or a second half of a concert.At the start of the piece, the percussion enter the stage and take their positions in their usual place behind the band. They begin playing the piece without a conductor. They keep repeating the opening section while the Basses, Horns, Baritones and Euphoniums march onto the stage.This group of musicians take their seats with the Horns, Baritones and Euphoniums sitting where they usually sit in the band but the Basses sit where the solo cornets usually sit, forming an inner semi-circle of lower brass. When seated and when the music gets to the end of bar 4 the piece continues onto section A. All performers keep repeating this next 4-bar phrase until the trombones march onto stage and stand at the front of the stage with the Bass Trombone standing in between the other two trombones.All performers then play from figure B to C with the trombones taking the lead at the front. When the performers get to rehearsal figure C they repeat this section (the same as section A) while the trombones move from the front of the stage and take their positions where the Basses would normally sit (between the horns and the percussion) and remain standing. Meanwhile, the flugel enters the stage and stands at the front of the stage (standing where the trombones did). When in position the flugel soloist picks up into rehearsal figure D.When the flugel soloist finishes playing, just before rehearsal figure F they then move to their normal seat in the band. At figure F the cornets march onto the stage from either side, they turn and stand side by side each other facing outward towards the audience forming two 'fanfare' lines either side of the lower brass. The conductor follows the cornets on stage and on cue they lift their instruments at the same time and perform when the piece gets to figure G.There is no more moving around from this point on other than the solo cornet to move forward with the solo euphonium and perform their duet at letter H. Also the horns are required to stand and play at letter I and then sit just before J.When performed with all the choreography, this piece makes for an exciting addition to any concert repertoire both for the performer and the audience.Suitable for 3rd Section Bands and Above
Estimated dispatch 7-14 working days
-
£80.00The Unfortunate Traveller (Brass Band - Score and Parts)
Imogen Holst (1907-1984) submitted The Unfortunate Traveller (1929) as her final work as a student portfolio at the Royal College of Music, where her composition teacher was Gordon Jacob. The title was taken from Thomas Nashe's famous 1594 picaresque novel of the same title. The Suite was first performed on 12 February 1933 at her Majesty's Theatre, Carlisle, by the St. Stephen's Band, with the composer conducting. Te concert was given in memory of Holst's uncle, Dr. H.A. Lediard. Holst had been impressed with the band's performance of his A Moorside Suite at the 1928 National Brass Band Championships (The Crystal Palace, South London) and was keen to work with them. Writing in Imogen Holst, a life in music, Christopher Grogan indicates that it was Gustav Holst's suggestion to include his daughter's work in the programme, quoting Imogen Holst's remarks made in interview to The Daily Mail as follows: "....it is the first time, so far as I know, that a woman has conducted a brass band at a public concert....It has been a delight to rehearse the St. Stephen's Band. It was their performance at the Crystal Palace Festival that inspired me to write this Suite, which I have dedicated to them."Imogen Holst accompanied her father to the Crystal Palace in 1928 to hear the performances of A Moorside Suite, and was so excited by the played and, audibly, by her father's music that she decided to write a brass band piece for her final examination. Te result was The Unfortunate Traveller (1929). However, it was not possible for her to present a brass band work for examination. She arranged it for string orchestra so that it could be played before she left the RCM in July 1930. Following the premiere of the original in 1933, the manuscripts did not resurface until 1969 Imogen found them among her late mother's effects. Although she requested score and parts be destroyed, they ended up in the possession of Manchester composer John Golland, who marked up the score presumably with the intention of creating a new performing edition. The original scoring reveals a lack of experience with what can be a tricky medium.With the agreement of the Holst Foundation, a revised edition, with additional percussion, was prepared in 2011 since when the work has been fortunate to travel round the world as a concert and contest piece. The original includes drums in the March only. The title was taken from Tomas Nashe's famous 1594 picaresque novel of the same title. Several Morris Dance tunes are introduced during the course of the four short movements, including Bonnie Green Garters, Shepherd's Hey, The Rose and The Wind Blaws Cauld. Quirky twists and turns of harmony and spirited rhythms that remind us how much Imogen Holst loved tradition English dance music.In September 2025, I made a performing edition of the composer's arrangement for string orchestra. The manuscript lacks the final movement, which I arranged in a similar style, ie. without extending the upper ranges. Making this edition raised some issues regarding the accuracy of my band version and some of the solutions I used to smooth out the voicing. I have used the composer's second thoughts to refine my performing edition and to correct a textual errors.- Paul HindmarshDuration: 10.00
Estimated dispatch 7-14 working days