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£89.95Tuba Concerto (Score and Parts)
This work was commissioned by the Besses o' th' Barn Band with funds provided by the Arts Council of Great Britain. It was written for, and is dedicated to, John Fletcher, who gave the first performance in Middleton Civic Hall, near Manchester, on 24 April, 1976, with Besses o' th' Barn Band conducted by the composer. Another interesting feature about the premire was that it was recorded by BBC Television for an Omnibus programme with Andr Previn as presenter. The concerto exists in three versions: with brass band (1976), orchestra (1978) and wind band (1984).The concerto is in three movements, following the usual, quick-slow-quick pattern: Allegro deciso,Lento e mesto, Allegro giocoso. The first movement has a sonata form shell with two contrasting themes, the first one being rhythmic in character, the second lyrical. There is a reference made in passing to the Vaughan Williams Tuba Concerto, but this merges into the other material in the development section.The second movement begins with a chorale, but after the entry of the tuba it leads to a cantabile theme, softly unfolded by the soloist. The opening chorale passage returns, this time briefly on muted brass, and leads to a middle section which is more chromatic in style and soon builds to a powerful climax, where the opening cantabile theme triumphantly returns. The music subsides, returning to the opening chorale and ending peacefully.The finale is light and breezy in style, and is cast in rondo form. After a brief introduction the tuba announces the main rondo theme, which is dance-like and a little jaunty. There are two episodes: the first a broad sweeping tune, the second a slowish waltz and a little jazz-like. After a virtuoso cadenza reference is made to the very opening of the concerto before the work ends with a triumphal flourish.The Tuba Concerto has established itself as one of the main works in the solo tuba repertoire. It has been performed and broadcast in over 40 countries all over the world. There are currently six commercial recordings of the concerto in its various versions.resolution in C major, pointed by a simple but expansive melody towards which the piece has been heading, and ending in a blaze of joyful colour.
Estimated dispatch 7-14 working days
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£36.19The Piano Preludes (Brass Band) George Gershwin arr. Rob Bushnell
First performed by the composer at the Roosevelt Hotel in New York in 1926, The Piano Preludes (or Three Preludes) are a collection of short pieces by George Gershwin, show casing early-20th-century American classical music, as influenced by jazz. Gershwin originally planned to compose 24 preludes, wrote seven, performed only six publically and was further reduced to three when first published. The work was dedicated to friend and musical advisor Bill Daly. The first prelude begins with a five-note blues motif. It features syncopated rhythms based on the Brazilian baiao and minor-seventh chords throughout. The second prelude, which Gershwin said was "a sort of blues lullaby" consists of two sections: the first a "lazy" melody upon a steady beat of crotchets; the second the bass takes the melody, continuing with the steady beats. The third prelude was called "Spanish" by Gershwin, and features a question-and-answer type melody, starting in a minor tonality and ending in major one. This arrangement is for the British-style brass band, with alternative parts for horns in F and bass-clef lower brass. To view a follow-the-score video please visit www.youtube.com/watch?v=XqIQ0j1SWlc PDF download includes score and parts. Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Difficulty Level: 1st Section + Instrumentation: Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass Bb Timpani Drum Kit Mallet Percussion
In stock: Estimated dispatch 1-3 days
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£96.53Euphonium Concerto with Brass Band (Karl Whelan)
VIEW SCORE PDF Karl Whelan's Euphonium Concerto with Brass Band is written in three linked movements: I: Prelude II: Aria III: Scherzo The first movement, Prelude, is in a mirror image sonata form and with its menacing ostinato sets the tone for the entire concerto and also introduces material on which the concerto is based. During this movement, the soloist has the opportunity to display their technical ability as well as the extremes of the instruments range. A chord based on the notes of the ostinato signal the beginning of the second movement, Aria. Here, material from the first movement has been weaved together and moves through a multitude of keys, the soloist is able to show the expressive side of the instrument to create an almost yearning, operatic aria. A reiteration of the 1st subject takes us into an almost march like figure at the beginning of the third movement, Scherzo. This is then interrupted both times by dance-like scherzo which, as with the rest of the concerto navigates itself through different keys leading to the cadenza that even the temple blocks have the the chance of participating in! The concerto concludes with almost a battle between the band (playing fragments of the first and second subjects from the first movement), and soloist who is attempting to have the last word! To view a follow-the-score video of the work please visit: www.youtube.com/watch?v=aEnou67XHqA Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Instrumentation: Euphonium Soloist Bb Soprano Cornet Eb Solo Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass Bb Timpani Percussion 1-3
In stock: Estimated dispatch 1-3 days
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£79.95Lost Village of Imber, The - Christopher Bond
The village of Imber on Salisbury Plain had been inhabited for over one thousand years when it was evacuated in 1943 to make way for military training in the Second World War. At the time, with preparations for the Allied invasion of Europe underway, most villagers put up no resistance, despite being upset, with the belief that they'd return once the war had concluded. To this day, Imber and its surrounding land remain a military training ground. The villagers never returned, and just the shell of what was once a community remains. Structured in three movements, it is on this very real story that the work is based, setting out the series of events of 1943 in chronological order. The first movement, On Imber Downe, portrays a sense of jollity and cohesiveness - a community of individuals living and working together before news of the evacuation had broken. Sounds of the village are heard throughout, not least in a series of percussive effects - the anvil of the blacksmith; the cowbell of the cattle and the bells of the church. The second movement, The Church of St. Giles, begins mysteriously and this sonorous, atmospheric opening depicts Imber in its desolate state and the apprehension of residents as they learn they have to leave their homes. Amidst this is the Church, a symbol of hope for villagers who one day wish to return, portrayed with a sweeping melodic passage before the music returns to the apprehension of villagers facing eviction around their sadness at losing their rural way of life. In complete contrast, the third movement, Imemerie Aeternum, portrays the arrival of the military, complete with the sounds of the ammunition, firing and tanks - sounds which were all too familiar to those living in the surround areas. To close, the Church of St. Giles theme returns in a triumphant style, representing the idea that the church has always been, even to this day, a beacon of hope for the villagers and local community - both the centrepiece and pinnacle of a very real story. The work was commissioned by Bratton Silver Band in celebration of the band's 160th Anniversary, with funding from the Arts Council National Lottery Project Grants Fund and the Brass Bands England Norman Jones Trust Fund.
Estimated dispatch 5-10 working days
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£32.00Chorale 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.
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£10.00The Once and Future King
DescriptionThe Once and Future King is a suite of three movements; each movement was inspired by an Arthurian legend. The first movement, 'Tintagel', concerns the famous Cornish promontory said to be the birthplace of King Arthur. In Arthur's time, Tintagel was part of the court of King Mark of Cornwall and the music imagines a visit by the King of the Britons to his Cornish neighbour and the place of his birth, reflecting the ceremony and drama of such an occasion; the music is strongly antiphonal, contrasting the more strident fanfares of the cornets and trombones with the warmth of the saxhorns and tubas.The second movement, 'Lyonesse', takes its inspiration from the mythical land which once joined Cornwall to the Isles of Scilly. One legend claims that after the disastrous battle of Camlan where Arthur and Mordred were both killed, the remnants of Arthur's army were pursued across Lyonesse to Scilly, whereupon Merlin cast a spell to sink Lyonesse behind them and drown the pursuers. Some say the bells of the 140 churches inundated that day can still be heard ringing. All the material in this movement derives from two short motifs heard in counterpoint at the very beginning, which are intentionally dissonant and bitonal in character.The final movement, 'Badon Hill', takes its title from the legendary site of Arthur's last battle with the Saxons and is a lively toccata based on the medieval secular song L'Homme Armee ('The Armed Man'). The music uses a number of medieval devices including "hocketing" (passing melody from one voice to another). The actual site of Badon Hill is unknown but it has been associated with Badbury Rings in Dorset and a lot of evidence now points towards the town of Bath. Arthur's victory at Badon Hill was the last great victory for Celtic Britain over the Saxon invaders, but in the end only set the conquest back by a few decades. Arthur himself was dead by then, betrayed and defeated by his nephew Mordred, but it is said that Arthur only sleeps and will return in a time of dire need - hence the legend that Arthur's dying words were: Bury me in Britain, for I am the Once and Future King.Performance NotesWhere space and practicality permits the opening movement should be played with cornets and trombones standing behind the band facing the audience; they should retake their seats for the second and third movements.PercussionConcert Bass Drum (ideally NOT Kit/Pedal Bass Drum), Suspended Cymbal, pair of Clash Cymbals, Glockenspiel, Snare Drum, Tambourine, 2 x Timpani (Eb-G, Bb-D), 2 x Tom-toms, Triangle, Tam-Tam* (only if available), Tubular Bells *(only if available).MutesBaritones, all cornets and trombones will require metal straight mutes; all trombones and cornets will require cup mutes.*The Once and Future King was set as the test-piece for the 3rd section of the Swiss National Championships in 2007. The score was then slightly revised in July 2008, the main alteration being the exclusion of the tubular bells part for the Regional Championships of Great Britain in 2009. Some parts which were optional (or cued on other instruments) at the request of the Swiss Brass Band Association were restored to their original octaves and instruments. In 2015 the tubular bells part was restored in the optional Percussion 3 part; all parts in Percussion 3 are optional, although some are cued in the percussion 1 & 2 parts (and the cues should be played if only two players are available).Listen to a preview and follow along with the score below!
Estimated dispatch 7-14 working days
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£10.00Perseverance
DescriptionPerseverance was commissioned by Middleton Band to mark their 140th anniversary in 2016, supported using public funding by the National Lottery through Arts Council England, and featured on Middleton Band's CD of the same name.The title is taken from the original name of the 1876 band, the Middleton Perseverance Drum and Fife Band. According to the band's historical records, the Drum and Fife band was formed by six Middleton youngsters eager to learn music but short of funds. Following a whip round, they visited a music shop in Oldham where they purchased a 'one key flute' for six shillings and sixpence, and ('later on') a drum.This determination to make music despite the odds has been a characteristic of the band ever since; at the end of the second world war the band was again down to six players, who rebuilt the 'Middleton Borough Band' back to twenty-six players. After a period of some considerable success throughout the sixties and seventies culminating in winning the National Third Section title in 1983 the band hit hard times again in the late eighties and was down to only four members in 1987 before again being brought back to life. In recent decades the band has built a strong relationship with the East Lancashire Railway, another organisation which has battled sometimes mighty obstacles in its struggle to survive, and has maintained a thriving and successful youth band.The band's will to survive through adversity is reflected in the music, which builds from a sextet of four brass and two percussion players three times, only to fall back to the sextet twice. In the central slow movement the bass drum plays a 'heartbeat' rhythm as the remaining players remember those lost in the war. The relentless pace of the final section culminates in the band triumphing over the adversity which has curtailed the previous two sections. As a former member of Middleton Band (and one of the team that regained the National Third Section title in 2007) it is my pleasure to dedicate this work to the 'Pop and Ale Boys', Middleton Band.You can read more about the piece here.To view the accompanying video by Andy Marshall, designed to precede the piece, clickhereand find out more about the link between the video and the music here.Recording with Score VideoPerformance NotesIn performance the four brass members of the sextet (soprano, solo horn, solo trombone and solo euphonium) should stand at the sides of the band - soprano and horn behind the cornets, trombone and euphonium behind the trombones. Percussion may stand with them at the conductor's discretion, but only if the band has TWO snare drums and TWO concert bass drums available, as these are also needed at the back of the band in the tutti sections. In the second sextet snare drum should be muffled with a heavy cloth OR have the snares turned off (not both).Percussion and mutesPercussion required:snare drum (muffled with a heavy cloth at one point)concert bass drum, kit bass drum, hi-hat, suspended (crash) cymbal2 x tom-tomswood blockclash cymbals3 x timpanitam-tamglockenspielSoprano cornet, repiano and 2nd cornets, flugel and all trombones require metal straight mutes. Soprano, Solo Cornet 3/4, Repiano 2nd and 3rd cornets require cup mutes. Solo Cornet 1/2, Repiano, 2nd and 3rd cornets require harmon mutes.
Estimated dispatch 7-14 working days
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£70.00
Origins - Peter Meechan
Origins is in three movements, with each movement having a different subject matter, all linked by the idea of origins: the first movement refers to musical origins; the second to the origins of life; and the final movement to the space exploration - the research of all origins. The first movement is based on a short motif, heard in the first three notes the soloist plays. These three notes cover the interval of a minor third (an interval that often plays a crucial role in my music) on which the whole concerto is built. The soloist and accompaniment interplay freely throughout the opening section, before an ostinato accompaniment appears - over which the soloist sounds a long legato melody. A short cadenza follows and a return to the opening material leads the movement to an end. The second movement, titled Harryas Song, is - as tradition dictates - a slow movement. Happy and reflective in nature, the main melody was written on the evening that my closest friend, Mark Bousie (a fine euphoniumist himself), and his wife Jayne, had their first child - Harry Bousie. It seemed only fitting that this song should be written for Harry in celebration. The final movement brings me back to a lifelong fascination with space, and in this particular movement, the Space Shuttle Discovery. Having completed 39 missions (including flying the Hubble telescope in to orbit), and spent a total of 365 days in space, SS Discovery made its final voyage in 2011 and was taken to the Smithsonian in Washington D.C. in April 2012. This final movement, titled Discovery, pays tribute to the great shuttle whose missions inspired millions across the generations. Origins was commissioned by Marco Schneider, Adrian Schneider and the Dunshan Symphonic Wind Orchestra, Beijing, China.
Estimated dispatch 12-14 days
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£70.00
Shine - Peter Meechan
Shine is my second large scale work for solo tuba, following on from my concerto Episodes and Echoes. Like the concerto, Shine was commissioned and premiered (with the Grimethorpe Brass Band, conducted by Howard Evans) by Les Neish - the title being an anagram of the soloist surname.Although in one movement, Shine has 3 broad sections, each requiring virtuosic skill and dexterity from the soloist. The opening section features lots of bright, metallic sounds - especially in the percussion section - providing the accompaniment to soloist as they demonstrate the range and flexibility of the tuba.The second section gives the soloist the opportunity to demonstrate the considerable lyricism that the tuba is capable of. The solo line weaves in and out of textures in the accompaniment, exchanging snippets of melody with other players in the ensemble.After a short unaccompanied passage, the final section emerges juxtaposing new solo lines and material from the opening section. This builds in momentum - and difficulty for the soloist - as the piece reaches its climatic ending.Shine is dedicated to my good friend, fellow Liverpool supporter, and amazing musician, Les Neish.Peter Meechan, 2011
Estimated dispatch 12-14 days
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£91.99Fanfares, Songs & Dances - Philip Sparke
Fanfares, Songs & Dances was commissioned by Brass Bands England, the Lithuanian Brass Band Association and the Dutch National Brass Band Championships (NBK), and first performed at the 43rd 'NBK' in October 2024. The work is played in three linked movements: FANFARES opens in robust fashion with a sequence of fanfare-like statements, initially featuring the horns, whose modal theme includes a figure that will reappear throughout the work. Euphoniums and then cornets introduce a second theme, which is followed by a third, again initiated by the horns. Baritones then change the mood with a more-lyrical theme, which builds to a climax, eventually leading back to a recall of the initial fanfare theme. This gradually dissolves to introduce the second movement. SONGS continues to relax the fanfare feel with a long introduction to the movement's main theme, first appearing on solo cornet. A change of key introduces a bridge passage which leads to a sonorous chorale, which builds to a triumphal return of the cornet theme. A peaceful coda leads to the final movement of the work. DANCES is a scherzo-like movement based around a series of rhythmic melodies in triple time, which lead to a majestic return of the 2nd movement's chorale theme under cornet figuration. The opening dance theme returns and heralds a joyous coda.
Estimated dispatch 5-14 working days
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