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  • £34.95

    Quicksilver - Paul Lovatt-Cooper

    The piece has been composed to demonstrate the full technical and sonorous capabilities that the E flat tuba has to offer.Quicksilver is divided into three sections: fast-slow-fast.The opening and concluding fast sections have been composed to stretch the performer to the limit and as the title suggests, the soloist needs very quick technical skills in order to successfully negotiate and perform the difficult opening and closing sections.The reflective middle section is a haunting slow melody that demonstrates the beautiful range and colour of the Tuba. With sonorous sounds from the Tuba this middle section fades to a mere whisper towards the end to guide us into the concluding fast section.The recapitulation of the opening follows, this time with transformations as the piece travels to its conclusion. This is a real 'tour de force' for the Tuba and it highlights the Tuba’s technical and sonorous excellence as a soloist instrument. This is an ideal addition to the Tuba soloist repertoire.

    Estimated delivery 12-14 days
  • £29.95

    Song for the Skies - Paul Lovatt-Cooper

    Song for the Skies was commissioned by Tuba virtuoso Les Neish and was given its world premier on the December 9th 2010 with the James Madison University Brass Band in Harrisonburg, Virginia, USA.Les asked me to compose a slow melody that highlights the wonderful sonorous sound of the Tuba. I am a big fan of Les and of the instrument and knowing the capabilities of Les as a soloist I wanted to experiment with the range and colour of the instrument in this solo.After a warm introduction from the ensemble the soloist enters almost timeless over the muted cornets. The melody when it is first heard has a somewhat haunting Celtic feel to it. It is intentionally marked as con rubato so that the soloist can really put their own musical stamp on the music. As the haunting melody repeats again this time in a change of key the accompaniment takes more of a role within the piece of music performing counter melodies within this second section.The middle of the piece introduces a new secondary melodic device that serves as an introduction to the original melody played in all its glory by the ensemble. This dies away to leave the second half of the melody in the euphoniums and baritones as the soloist plays a soaring counter melody in the highest register of the instrument.The piece starts to return home with a recapitulation of the introduction followed by the second part of the original melody by the soloist. After a momentary reflective solo from the soloist the introduction is used for a final time before the tuba guides us home to conclude.For the soloist, there are a number of occasions where the opportunity to play in the upper register of the instrument arises. However, I have also given the opportunity for the soloist to play various passages down the octave so it suits the performers playing style and range.Song for the Skies is very simple yet beautiful and I feel it suits the playing of the Eb Tuba perfectly. I hope you enjoy performing it.Paul Lovatt-Cooper

    Estimated delivery 12-14 days
  • £69.99

    Fanfares And Love Songs (Score & Parts) (Brass Band/Score & Parts)

    was commissioned by the National Children's Brass Band of Great Britain for performance on 25th July 2009. Its three movements contrast the extrovert and lyrical qualities of the traditional brass band. The fanfare with which the work opens involves the whole cornet section. The second movement is reflective in mood, beginning somewhat pensively on muted brass, and building to an emotional climax before subsiding back to a distant pianissimo chord. The finale is a fast dance, which with a final recapitulation of the opening fanfare drives on to a breathless close.

    In stock: Estimated delivery 1-2 days
  • £14.99

    Fanfares And Love Songs (Score) (Brass Band/Score)

    was commissioned by the for performance on 25th July 2009. Its three movements contrast the extrovert and lyrical qualities of the traditional brass band. The fanfare with which the work opens involves the whole cornet section. The second movement is reflective in mood, beginning somewhat pensively on muted brass, and building to an emotional climax before subsiding back to a distant pianissimo chord. The finale is a fast dance, which with a final recapitulation of the opening fanfare drives on to a breathless close.Brass Band Grade 4: Advanced Youth and 3rd Section

    In stock: Estimated delivery 1-2 days
  • £19.99

    Little Hymn (Score & Parts) (Brass Band/Score & Parts) - Simon Dobson

    was composed by award-winning composer Simon Dobson (b.1981) to provide an alternative to the traditional hymn tune settings that provide one of the foundations of the brass band repertoire. This simple, haunting melody begins on a brass quartet without cornets. The full band joins for the second part, which rises to a richly textured climax before receding to a quiet, reflective close.

    In stock: Estimated delivery 1-2 days
  • £7.99

    Little Hymn (Score) (Brass Band/Score) - Simon Dobson

    was composed by award-winning composer Simon Dobson (b.1981) to provide an alternative to the traditional hymn tune settings that provide one of the foundations of the brass band repertoire. This simple, haunting melody begins on a brass quartet without cornets. The full band joins for the second part, which rises to a richly textured climax before receding to a quiet, reflective close.

    In stock: Estimated delivery 1-2 days
  • £10.99

    Whirlegigg (Brass Band/Score) - Kenneth Hesketh

    '' is the middle English word for a contraption that continuously spins. A great fascination with many inventors of the medieval period was to develop a perpetual motion machine constantly turning and giving off energy. This idea is particularly apt for this piece. A simple ternary structure gives ample opportunity for both boisterous and reflective material with gyrating accompaniment figures never far away. The machine almost stops near the end, but finally musters one last burst of excitement and energy to bring the work to its close.

    In stock: Estimated delivery 1-2 days
  • £44.99

    Whirlegigg (Brass Band/Score & Parts) - Kenneth Hesketh

    '' is the middle English word for a contraption that continuously spins. A great fascination with many inventors of the medieval period was to develop a perpetual motion machine constantly turning and giving off energy. This idea is particularly apt for this piece. A simple ternary structure gives ample opportunity for both boisterous and reflective material with gyrating accompaniment figures never far away. The machine almost stops near the end, but finally musters one last burst of excitement and energy to bring the work to its close.

    In stock: Estimated delivery 1-2 days
  • £25.00 £25.00
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    Lament - to the Unknown - Andrew Stevenson

    Lament ? to the Unknown was written in the memory of Rob Southwick, who passed away in Easter 2012. Rob was a talented musician who worked with many local music and drama groups around Doncaster; this piece pays homage to the immense musicianship and talent of Rob.The piece itself is very simple, both rhythmically and technically. The tempo is slow and calm, representing a reflective hymn. The basis of the piece is built on dissonant chords and atmospheric percussion which creates a wonderful soundscape of colour. The falling fourths of the distant trumpet calls emulate feelings of sadness and mourning and the somewhat disjointed melodies give the piece a mysterious sound. The piece grows to an emotional climax before settling down for a chilling end.

  • £32.00

    Chorale Prelude

    This stately work is very loosely based on the opening chords from 'The Lamb', although there are no direct quotations from that work. The opening chorale is played as gradually more themes are added above in a dignified and legato subject where instruments sustain notes to give a lingering echo effect. Players need to be aware of their role in this to maximise the effect. The second subject increases the intensity until the time signature change introduces a second chorale. Then, a short imitative passage leads to a rising appogiatura theme and the climax of the work, which re-introduces the original chorale in a major tonality. With versions for brass ensemble, brass band, wind orchestra and woodwind orchestra, this work has been placed in concerts when a meaningful, reflective moment is required.