Results
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£65.50Windsor Variations - Gavin Somerset
The first major Concert Work/Test Piece by Gavin Somerset for brass band takes the familiar tune, St. George's Windsor (Elvey) and gives us a highly enjoyable opus, full of music with which players & MDs can fully express themselves. Often sang to the harvest hymn, Come, Ye Thankful People Come, Its majesty and motifs make this an enjoyable piece to both play and listen to. The work's primary focus is on melody and music with all sections of the band involved in bringing this piece to life. At harvest time or any other, this is a great new feature work for the brass band repertoire. GET THE PARTS FREE TO REHEARSE AT HOME Whilst Brass Band rehearsals continue to be suspended, we are offering FREE downloads of any of the instrumental parts for this new work*. A downloadable playback of the work is also available for you to play along to with a click track included where deemed appropiate to aid your home practice. To download your free instrumental part, please send us a quick email to [email protected]. Once we have received your request, you shall be emailed your free music. Please allow up to 24hrs for this to arrive. Thank you. To download the playback audio to play along to, please RIGHT CLICK HERE & Save As . *A maximum of 2 parts per email address allowed
In stock: Estimated dispatch 1-3 days
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£24.50
When Christmas Sleeps - Gavin Somerset
This little arrangement is playable by all levels of bands and is a wonderfully harmonised medley of "Silent Night" and "The First Nowell". A perfect addition to the Christmas program and scored well for lower section bands with parts doubled, making this item work well on the concert stage, or out and about carolling. For Christmas 2020, we have made backing tracks of this title for you to download. These can be used either for personal playback use, or to create a virtual performance of the piece with your full band. To download the backing track, please RIGHT CLICK HERE & Save As .
In stock: Estimated dispatch 1-3 days
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£29.50We Three Kings - Traditional - Gavin Somerset
This traditional item has certainly been arranged with the "wow" factor. Starting gently with a solo from the horn before being joined by the rest of the band, after which it's a cocktail of surprises. A Jazz waltz theme ensures the audience enjoy every toe-tapping minute of the piece whilst your players ravish the solos and counter melodies (there's even a solo for the Eb Bass!) Bells ring out and the feel good factor from this arrangement will leave your audiences stunned as the key change at the end is sure to make the hairs on your neck rise! A must for all Christmas programs. For Christmas 2020, we have made backing tracks of this title for you to download. These can be used either for personal playback use, or to create a virtual performance of the piece with your full band. To download the backing track, please RIGHT CLICK HERE & Save As .
In stock: Estimated dispatch 1-3 days
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£30.00Jerusalem - C. Hubert H. Parry arr. Phillip Littlemore
Sir Hubert Parry wrote the music to the hymn Jerusalem in 1916, during the gloom of World War I. It uses William Blake's poem And Did Those Feet In Ancient Times which itself was written around 1804, and first published in 1808.Parry's hymn was originally written for the 'Fight for Right' movement, formed to sustain the resolve of Britain during the Great War. The hymn received its premiere on the 28th March 1916 in the Queen's Hall, London at a 'Fight for Right' meeting. In 1917, Parry conducted it for the ladies of the Albert Hall choir as part of a call in favour of National Service for Women. This signalled a closer relationship with the women's suffrage movement which Parry and his wife, Maude, supported. A year later, Jerusalem was sung at a suffrage demonstration concert and was adopted by the Women's' Institute as their anthem in 1924.There are regular calls for the hymn to be adopted as the official National Anthem of England, but this is not new. The first such call can be traced back to the centenary of Blake's death in 1927 and the call continues undimmed to this present day. This brass band arrangement is based on Parry's original orchestration from 1916.Duration: 2'20"Difficulty: Suitable for all grades
Estimated dispatch 5-7 working days
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£50.00atrium phase
Descriptionatrium phase was inspired by listening to works performed at the 2013 Huddersfield Contemporary Music Festival in the atrium of the Huddersfield University Creative Arts Building. The atrium, despite being a functional area incorporating meeting areas and a cafe, has almost coincidentally evolved into a fantastic (if somewhat resonant) performance space. Performers can be positioned on three different sides and three different levels, making the atrium ideally suited to spatially separated performances of a variety of music from Gabrieli to Christian Wolff.In atrium phase the band is separated into four groups - ideally these should be positioned around the audience as follows: group A to the left of the audience, group B in front of the audience, group C to the right of the audience and group D (the four basses) behind the audience. The music "phases" between the groups in the manner of contemporary electroacoustic music, with the bass group acting as a kind of "subwoofer". Starting very slowly, the music accelerates using metrical modulations to finish at considerable speed.The music is intended to be performed without a conductor wherever possible - the three percussionists should set and control the tempo, and there are clear points of overlap for percussionists to allow synchronisation between groups.atrium phase won the inaugural Foden's Band Composition Competition in 2014 and the first performance was given on 24 January 2015 at the RNCM Festival of Brass by Foden's Band.NOTE: This work comes with a B4 score; click here to view a sample PDF score.Performance Notes:The band is separated into four groups - ideally these should be positioned around the audience as follows: group A to the left of the audience, group B in front of the audience, group C to the right of the audience and group D (the four basses) behind the audience. The music "phases" between the groups in the manner of contemporary electroacoustic music, with the bass group acting as a kind of "subwoofer". Starting very slowly, the music accelerates using metrical modulations to finish at considerable speed.Instruments in group A require cup mutes (soprano, 2 x cornets, horn, baritone, trombone, euph), group B harmon mutes (4 x cornets, baritone and trombone - the baritone should use a trombone mute) and group C require fibre straight mutes (3 x cornets, flugel, 2 x horns, euph., bass trom - NOT metal mutes if possible).Percussion instruments required are claves, wood block and 2 x temple blocks. The music is intended to be performed without a conductor wherever possible - the three percussionists should set and control the tempo, and there are clear points of overlap for percussionists to allow synchronisation between groups.Approximate duration 6'17"
Estimated dispatch 7-14 working days
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£34.00Deus in Adjutorium
DescriptionMonteverdi's Vespro della Beata Vergine (Vespers for the Blessed Virgin) is a musical setting by Claudio Monteverdi of the evening vespers on Marian feasts, scored for soloists, choirs, and orchestra. It is an ambitious work in scope, style and scoring, and has a duration of around 90 minutes. Published in Venice with a dedication to Pope Paul V dated 1 September 1610 as Sanctissimae Virgini Missa senis vocibus ac Vesperae pluribus decantandae, cum nonnullis sacris concentibus, ad Sacella sive Principum Cubicula accommodata ("Mass for the Most Holy Virgin for six voices, and Vespers for several voices with some sacred songs, suitable for chapels and ducal chambers"), it is mercifully regularly shortened to Monteverdi's Vespers of 1610.Monteverdi was born and spent the first part of his working life in Cremona before moving to Mantua (where he composed the Vespers) and finally attaining one of the top jobs in Italian renaissance music as Maestro di Capella at the Basilica di San Marco in Venice. He is most famous for his vocal music, notably his madrigals and the earliest surviving opera, Orfeo.Performance notes:The opening "versicle" on euphonium should be declamatory, in a recitative style - i.e. in free tempo and not conducted. Ideally the player should stand for this.Where practical, the soprano and 1st & 2nd solo cornets should stand to the left of the band, and the repiano and 3rd & 4th solo cornets to the right. If three percussionists are available, the third player should double the Percussion 2 part, and in that event it is often effcetive to have the 2nd and 3rd percussion players stand to the left and right of the band with the cornets.Watch a preview video of the score below:
Estimated dispatch 7-14 working days
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£38.95Unity Series Band Journal - Numbers 490 - 493, February 2021
490: March - Resounding Praise (David Rowsell)This march features the chorus God is so good and the song Praise him! Praise him! Jesus our blessd Redeemer (S.A.S.B. 231)491: I want to live right (arr. Simon Gash)A fun setting of this popular song, the chorus I want to live right originally derives from a West Indian melody.492: Remember God is love (Ruben Schmidt)An uplifting arrangement of the Sunday School chorus When you see a rainbow, remember God is love, based on the English folk song Early One Morning.493: March - Temple 1 (Wycliffe Kortin)Featuring the songs They'll sing a welcome home (S.A.S.B. 534) and Christ the Lord is risen today (S.A.S.B. 218), this march was written for the Nairobi Central Corps' inauguration as a Temple, making it the first Salvation Army Temple in East Africa.
Estimated dispatch 7-14 working days
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£34.95
SLOW RIDE IN A STATIC MACHINE, A (Brass Band) - Lawrence, Phil
A Slow Ride in a Static Machine was inspired some time ago when my (late) Father came to visit me "down in London" as he put it. It was based not on one of his circular mishaps, but on several! He was always directed carefully, but refused to carry a map in the car! At one time when I lived in North London I would meet him outside the capital, and he would then follow be back to my place, but after I moved to East London I made him bite the navigational bullet and transverse the 'M25 Orbital'. His main problem seemed to be getting off this mesmerising circular cark park. He would often phone (in a weary tone) from the Dartford Tunnel (which is 5 junctions past the one he needed to get off at), asking me to, "bring him in" so to speak. I would always refuse. And then, he would do the opposite (especially when travelling at night), he would phone me up from near Cambridge (he'd gone the wrong way up the M11 away from London by 45 miles), and would ask where he was!The title is obviously a play on John Adams' composition, A Short Ride In A Fast Machine. This quirky tone poem starts as a wind-up by using those unwanted intervals of augmented 4th's and minor 9th's & 7th's in the main tune, before hearing the road works, the juggernauts multi horns, fender-benders, ambulance and police sirens! This then all works to a back beat on kit. The wind-up start gets to an almost Go-Go 1960's Disco middle section (the nostalgic hay-days of the open road), where our wind-up tune falls into place and we all relax as we can now drive at 42.1 mph! We DC, and then get into a right car mess in the Coda!Phil Lawrence.Duration:4:00
Estimated dispatch 7-14 working days
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£30.00My Little Welsh Home - Traditional
A beautiful arrangement by Tim Paton of a Welsh song by W S Gwynne Williams. Created in memory of his mother, Tim has produced a wonderful version for brass band and has also included an optional vocal solo or unison choir line.Comments from the arranger:I have arranged [My Little Welsh Home] in memory of my mother. [She] was born, Doreen Davies, on 27th November 1918, in Haverfordwest, Pembrokeshire, a small town in South West Wales. She had a beautiful voice, and met my father, Bill Paton, during World War II, whilst she was singing in a troop concert at the County Theatre in her home town, and my father was the MC.Throughout her life, my mother and father entertained, and she was singing right up until the final months of her life. She spent many years in Weston-super-Mare, Somerset, a seaside town in South West England, and it was here that she passed away on 20th September 2004. During the last several months of her life, she often referred to the song My Little Welsh Home:Here are the words.I am dreaming of the mountains of my homeOf the mountains where in childhood I would roamI have dwelt 'neath southern skiesWhere the summer never diesBut my heart is in the mountains of my homeI can see the little homestead on the hillI can hear the magic music of the RhyllThere is nothing to compareWith the love that once was thereIn the lonely little homestead on the hillI can see the quiet churchyard down belowWhere the mountain breezes wander to and froAnd when God my soul will keepIt is there I want to sleepWith those dear old folks that loved me long agoLooking at the words, I can see why it meant so much to her. Haverfordwest is at the foot of the Preseli Mountains, and her home and church were at the top of a hill. My mothers' ashes were taken back to her own little Welsh home, and laid to rest in the grounds of the church where she had been Christened, Confirmed and Married.Look and Listen (Score-reading digital sound-sample):
Estimated dispatch 7-14 working days
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£49.95The Dark Side Of The Moon (Score and Parts)
This piece was commissioned by Dr. Nicholas Childs and Black Dyke Band on behalf of Rotary International and received its world premire performance at St. David's Hall, Cardiff on Saturday 27th January 2007. It is dedicated to the composer's father, Harry Cooper.The music was selected by the National Contesting Council as the 3rd section test piece for the 2008 Regional Brass Band Championships of Great Britain. A Note from the Composer...Have you ever thought of a holiday destination, tourist attraction, event, place, site or period in history and thought 'I wonder what it would be like?' - somwhere you have never been and can only let your imagination run wild on. What would the place be like, and all the things surrounding it such as the mood, feelings you get experiencing it, the temperature? Who would be there and what you would see? This piece is my musical imagination of the dark side of the moon. I know from news reports, the internet and other footage that the moon is a very desolate place, very barren and rugged. So from the start the piece gives the listener a musical picture of the rugged landscape with little light and warmth.However, the one place that has had me thinking about is the side of the moon that we don't see in our night skies, the side of the moon with no sun and no light pollution from civilisation. I can only imagine the eeriness one would feel being stood in complete darkness on the moon's surface looking around.As you slowly explore the surroundings and your eyes drift up to the night sky, there is an awesome sight unfolding in front of you - countless stars and galaxies, planets and different solar systems and all right in front of you glistening from the light of the sun beaming from the other side of the moon. The Dark Side of the Moon portrays a musical picture of the whole experience as seen in my imagination taking the listener from the rugged landscape to the awesome beauty that sits endlessly in front of you.Paul Lovatt-Cooper, September 2007
Estimated dispatch 7-14 working days
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