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  • £29.95

    54 Studies and Duets - Lucy Pankhurst

    This collection of studies focusses on multiple aspects of brass technique. The studies themselves are set into three categories, allowing players to identify specific pieces that complement their current practice effectively.6 MELODIC PATTERN STUDIES:These studies use repetitive melodic and rhythmic configurations in a variety of keys and styles to help develop confident pattern recognition. There are intentionally no suggested dynamics or breath marks, so players are encouraged to incorporate their own.11 SLUR STUDIES:Flexibility is essential for effective brass technique. These studies specifically work on airflow and breath control to achieve effective slurs and lip slurs in performance.22 TECHNICAL STUDIES:Each of these studies focus on different aspects of brass performance technique, including digital dexterity, articulation, control, air support, flexibility, low range and optional pedal tones.15 DUETS:Covering a wide range of styles, these short duets incorporate technical elements that have been approached in the studies, giving the opportunity to put them into context with a fellow musician. Practising technical exercises individually is very different to performing with another player, so have fun putting these together!Lucy Pankhurst

    Estimated delivery 3-5 days
  • £24.95

    O Come, O Come, Emmanuel - 15th Century French Traditional - John Barber

    O Come, O Come, Emmanuel is a Christian Hymn for Christmas and is a translation of the Latin hymn, Veni, Veni, Emmanuel with the origins of the text stretching back as far as at least the 15th Century.In this realisation of the hymn, the melody and scoring is underpinned throughout by a tonic pedal and a relentless ostinato played on the vibraphone. This provides an almost hypnotic and minimalistic quality, only moving away from this rigidity when the two choruses reveal themselves to the listener.

    Estimated delivery 3-5 days
  • £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
  • £24.95

    Lloyd (Brass Band - Score and Parts) - Howard, Cuthbert - Coles, Bramwell

    The first presentation of the theme can be used for the purpose of accompanying congregational singing. At Section A the second presentation of the tune appears in the key of the dominant, the melody being given throughout to Solo Horn, with First Horn, First Trombone, Soprano and Flugel reinforcing the melody in the various phrases. Incidentally, see that the players do not break these phrases; it should be possible to take the four bars in one breath quite easily. Take due care of the light and shade which should be delicately applied. In the last bar the music gathers strength as we pass back into the original key for the last verse; pay particular attention to the part allotted to Second Baritone and Euphonium which needs to be slightly stressed. For the last appearance of the tune at Section B the full Band is used, apart from the third phrase which is given solo by Solo Comet with a light accompaniment above a bass pedal. Notice the rit. operating from the end of the eleventh bar and also the short swell effect on the fourth beat of the fourteenth bar.

    Estimated delivery 12-14 days
  • £12.50

    Lloyd (Brass Band - Score only) - Howard, Cuthbert - Coles, Bramwell

    The first presentation of the theme can be used for the purpose of accompanying congregational singing. At Section A the second presentation of the tune appears in the key of the dominant, the melody being given throughout to Solo Horn, with First Horn, First Trombone, Soprano and Flugel reinforcing the melody in the various phrases. Incidentally, see that the players do not break these phrases; it should be possible to take the four bars in one breath quite easily. Take due care of the light and shade which should be delicately applied. In the last bar the music gathers strength as we pass back into the original key for the last verse; pay particular attention to the part allotted to Second Baritone and Euphonium which needs to be slightly stressed. For the last appearance of the tune at Section B the full Band is used, apart from the third phrase which is given solo by Solo Comet with a light accompaniment above a bass pedal. Notice the rit. operating from the end of the eleventh bar and also the short swell effect on the fourth beat of the fourteenth bar.

    Estimated delivery 12-14 days
  • £34.95

    The Fire and the Phoenix - Christopher Bond

    Trombone Solo with Brass BandThe Fire & the Phoenix (2015) was commissioned by Brett Baker in early 2015 as the opening track to his solo CD 'Myths & Legends'. Whilst structurally a single-movement work, it is presented so that it can link directly into the next work on the CD, adding to a continuous theme comprising a number of pieces from a number of composers.Opening with huge strident chords in the full band, the representation of the phoenix is instantly reflected; bold, powerful and a bird of great intensity. This makes way for a more mystical section marked ‘distant’ which reflect the beauty of the Phoenix and it’s mythical nature where the trombone soars up into its higher register with a sweeping melody.Soon after, the music takes a sharp turn, becoming dramatic and instantly moving away from the mystical mood created previously. Here, we imagine the Phoenix catching fire, burning intensely with huge flames as it gradually turns into ash. We reach a tonic pedal point in the music, over which chord progressions subtly weave in and out of the texture. Here, we imagine the Phoenix rising from the ashes, with the dynamics gradually increasing to reflect this, slowly taking shape as it is born again.A return to earlier material follows, this time manipulated to reflect the Phoenix in its new form – the same bird; the same animal; but at the same time different. A beautiful chorale-like passage is heard before the music transports us back into a magical land, where delicate rhythmic ideas are juxtaposed against bolder lower chords; both ideas together transporting the listener forward into the next piece.

    Estimated delivery 12-14 days
  • £41.95

    Stai si, defenda! (Stand Up, Defend!) - Traditional

    Stai si, defenda romontsch, tiu vegl lungatg (Stand up, defend your old Romansh language): This composition was named after a quotation from a poem by famous Romansh poet Giachen Casper Muoth. The arrangement deals with various well known songs for male choir such as A Trun sut igl ischi (In Trun under the malpe tree), Si sededesta Rezia (Wake up, land of Raetia), Il pur suveran (The independent farmer) or Il paun palus (The rosted bread). An atmospheric beginning over a pedal point uses quotations from these songs and leads eventually into a dark but warmly orchestrated section on Nossa viarva (Our language) by H. Erni. The piece ends, once more quoting A Trun sut igl ischi by J. Heim, a dedication to struggle for freedom and independence.

    Estimated delivery 12-14 days
  • £13.50

    Stai si, defenda! - score only - Traditional

    Stai si, defenda romontsch, tiu vegl lungatg (Stand up, defend your old Romansh language): This composition was named after a quotation from a poem by famous Romansh poet Giachen Casper Muoth. The arrangement deals with various well known songs for male choir such as A Trun sut igl ischi (In Trun under the malpe tree), Si sededesta Rezia (Wake up, land of Raetia), Il pur suveran (The independent farmer) or Il paun palus (The rosted bread). An atmospheric beginning over a pedal point uses quotations from these songs and leads eventually into a dark but warmly orchestrated section on Nossa viarva (Our language) by H. Erni. The piece ends, once more quoting A Trun sut igl ischi by J. Heim, a dedication to struggle for freedom and independence.

    Estimated delivery 12-14 days