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  • £19.99

    Handel in the Band (Brass Band - Score only) - Downie, Kenneth

    Handel in the Band is a virtuoso set of symphonic variations on one of Handel's best known keyboard dances, the Sarabande from his Suite in D minor, HWV 437, based on the Spanish traditional dance La Folia. Kenneth Downie's work was commissioned by Brass Band Treize Etoiles, for performance at the 2013 Swiss National Brass Band Championships, where it was conducted by James Gourlay. The title is a reference to Percy Grainger's popular Handel in the Strand, and is indicative of the witty and theatrical nature of the music, which is more playful than conventional competition pieces and as such offers different challenges to brass bands as well as being thoroughly entertaining for audiences.Kenneth Downie is one of the most respected and experienced brass band composers. His music has been widely performed and published throughout the brass band world since the 1960s.Handel in the Band was selected as the set work for the Championship Section final of the 2018 National Brass Band Championships of Great Britain, which took place at the Royal Albert Hall, London, on 6th October 2018.

    Estimated dispatch 7-14 working days

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  • £44.95

    Princethorpe Variations (Brass Band - Score and Parts) - Downie, Kenneth

    Colourful harmony, rhythmic flair and melodic invention are the hallmarks of this excellent set of variations by Kenneth Downie, based on the well known church tune, Princethorpe.This major work demonstrates the well-known characteristics of the composer: colourful harmony, rhythmic flair and melodic invention, all encapsulated in scoring which is engulfing both to players and listeners alike. Following a presentation of the theme there are five variations culminating in what can be described as either a finale or coda.Theme. The composer shows his originality in the harmonic sense of this introduction. Perhaps it could be suggested that over-indulgence of rubato may be a temptation to be avoided.Sections A to F. Relentless rhythmic drive is of paramount importance in this first variation. Conscientious observance of dynamics is of course an essential requirement in conveying the exciting quality of the music; there are moments of sudden contrast of which all will need to be aware. Moving between the time-signatures of 5/4 and 6/4 these sections are built from strong easily-identifiable fragments of the theme. These is a significant increase in temp at letter F which will further the exciting impact of the music.Sections G & H. In a pastorale style this short, gentle variation affords a contrast in style between the previous and succeeding ones. The gentle undulating character of the melodic lines is governed by the Allegretto grazioso directive.Sections I to M. Commencing two bars before letter I the music is now exuberant and the tempo and style is that of a march in compound time. In this exhilarating movement there are moments of contrast and indeed of delicacy which are a foil to the more energetic moments. Rhythmic control will be essential to maintain a consistent tempo. As elsewhere in the work, the percussion section will contribute much to the success of the performance there are bars where this section alone is heard and there are important entries for glockenspiel.Sections N & O. With emotional content this Adagio variation has the first two notes of the melody as its melodic impetus. Apart from just over two bars at O (where there is an interpolatory phrase from Cornets and Trombones), the melodic line is entrusted to the plaintive sounds of the horn section. Cornets and Trombones provide a change of tone colour at the beginning of section O. Under a poco rall, this very expressive variation is concluded; there is an important link supplied by Eb Bass.Sections P & Q. A lively march-tempo is launched immediately and these sections are in the nature of an introduction to the final variations. There is a quickening of pace at Q which assists the generation of excitement which should be an essential part of the performance. Solo Cornets introduce a melodic line at Q which anticipates the compound time of the following section.Sections R & S. The Solo Cornet theme of the previous section is now a contrapuntal line accompanying the theme tune. With an elongation of the notes in the melody, the conductor will need to call on the sustaining powers of the band and at no time should the interesting accompanying lines be allowed to detract from the sonorous presentation of the basic theme.Sections T, U & V. Following a poco rit, the finale begins at letter T with the directive, molto vivace. There is much detail to be rehearsed, not least being the dynamic contrasts which are encountered. As throughout the work, the listener should have no difficulty in identifying the thematic sources of the composer's music.

    Estimated dispatch 7-14 working days

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  • £22.50

    Princethorpe Variations (Brass Band - Score only) - Downie, Kenneth

    Colourful harmony, rhythmic flair and melodic invention are the hallmarks of this excellent set of variations by Kenneth Downie, based on the well known church tune, Princethorpe.This major work demonstrates the well-known characteristics of the composer: colourful harmony, rhythmic flair and melodic invention, all encapsulated in scoring which is engulfing both to players and listeners alike. Following a presentation of the theme there are five variations culminating in what can be described as either a finale or coda.Theme. The composer shows his originality in the harmonic sense of this introduction. Perhaps it could be suggested that over-indulgence of rubato may be a temptation to be avoided.Sections A to F. Relentless rhythmic drive is of paramount importance in this first variation. Conscientious observance of dynamics is of course an essential requirement in conveying the exciting quality of the music; there are moments of sudden contrast of which all will need to be aware. Moving between the time-signatures of 5/4 and 6/4 these sections are built from strong easily-identifiable fragments of the theme. These is a significant increase in temp at letter F which will further the exciting impact of the music.Sections G & H. In a pastorale style this short, gentle variation affords a contrast in style between the previous and succeeding ones. The gentle undulating character of the melodic lines is governed by the Allegretto grazioso directive.Sections I to M. Commencing two bars before letter I the music is now exuberant and the tempo and style is that of a march in compound time. In this exhilarating movement there are moments of contrast and indeed of delicacy which are a foil to the more energetic moments. Rhythmic control will be essential to maintain a consistent tempo. As elsewhere in the work, the percussion section will contribute much to the success of the performance there are bars where this section alone is heard and there are important entries for glockenspiel.Sections N & O. With emotional content this Adagio variation has the first two notes of the melody as its melodic impetus. Apart from just over two bars at O (where there is an interpolatory phrase from Cornets and Trombones), the melodic line is entrusted to the plaintive sounds of the horn section. Cornets and Trombones provide a change of tone colour at the beginning of section O. Under a poco rall, this very expressive variation is concluded; there is an important link supplied by Eb Bass.Sections P & Q. A lively march-tempo is launched immediately and these sections are in the nature of an introduction to the final variations. There is a quickening of pace at Q which assists the generation of excitement which should be an essential part of the performance. Solo Cornets introduce a melodic line at Q which anticipates the compound time of the following section.Sections R & S. The Solo Cornet theme of the previous section is now a contrapuntal line accompanying the theme tune. With an elongation of the notes in the melody, the conductor will need to call on the sustaining powers of the band and at no time should the interesting accompanying lines be allowed to detract from the sonorous presentation of the basic theme.Sections T, U & V. Following a poco rit, the finale begins at letter T with the directive, molto vivace. There is much detail to be rehearsed, not least being the dynamic contrasts which are encountered. As throughout the work, the listener should have no difficulty in identifying the thematic sources of the composer's music.

    Estimated dispatch 7-14 working days

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  • £15.00

    In the Hall of the Mountain King - Grieg

    Performance Notes from Andrew Duncan:This arrangement is fairly difficult for inexperienced players and is without doubt one of the most difficult in the Flexi-Collection Popular Classics Series. But, as it is such a popular piece there is normally a great incentive from the players to learn the piece, despite the difficulties.The accelerando and gradual increases in tempo which are integral to this piece are in themselves very important musical ideas for new players to grasp, and these will be better understood as a result of playing and learning this arrangement.Other features found in this arrangement which may be new to some inexperienced players are the use of tin mutes in the 1st Cornet/Trumpet part, and the falling chromatic notes (accidentals) found in the melody line. Also, the wide range of dynamics, pp - ff , may be new to some players.I have deliberately not suggested any specific metronome markings as this is very much up to the conductor and is dependant on the players' abilities. However, as the arrangement becomes more familiar, the tempo could no doubt be speeded up adding to the excitement of future performances.The Flexi-Collection ApproachFlexible scoring tailored to your needs - A perfect solution for expanding the repertoire of training and junior brass bands. The Flexi-Collection currently offers two series - Popular Classics and World Tour. Based on four-part harmony, these collections provide groups with the advantage of complete flexibility when they may not be balanced. If players or instruments are missing, the show can still go on!The Flexi-Collection - Popular Classics Series, encapsulates all that is great about the wonderful range of musical styles produced by Holst, Elgar, Handel, Verdi, Tchaikovsky, Grieg, Bizet and Parry.The thoughtful scoring and arranging by Andrew Duncan now means that groups of all abilities have access to a truly flexible set of music for their needs. With world parts, rudimentary theory, terminology translations and large format typesetting, The Flexi-Collection ticks all the boxes when it comes to bringing interesting music to the training and junior band/brass group environment.Available individually or as part of the money-saving Flexi-Collection Popular ClassicsAlbum.Scored for Brass Band and supplied with additional Easy Bb, Easy Eb and world parts - The Flexi-Collection offers flexibility in every sense of the word.

    In Stock: Estimated dispatch 3-5 working days
  • £34.95

    Unity Series Band Journal February 2018 Numbers 462 - 465

    We hope you enjoyed listening to the sound files for the 2017 Unity series.If you are interested in purchasing the music, each set contains 4 of the works.Festival March - To Victory (Andrew Blyth); A quiet moment (William Himes); Rivers of Mercy (Kenneth Downie); March - Tell! (Stephen Gibson).The sets contain a score and full set of parts.

    Estimated dispatch 7-14 working days
  • £100.00

    Handel in the Band (Brass Band - Score and Parts)

    Handel in the Band is a virtuoso set of symphonic variations on one of Handel's best known keyboard dances, the Sarabande from his Suite in D minor, HWV 437, based on the Spanish traditional dance La Folia. Kenneth Downie's work was commissioned by Brass Band Treize Etoiles, for performance at the 2013 Swiss National Brass Band Championships, where it was conducted by James Gourlay. The title is a reference to Percy Grainger's popular Handel in the Strand, and is indicative of the witty and theatrical nature of the music, which is more playful than conventional competition pieces and as such offers different challenges to brass bands as well as being thoroughly entertaining for audiences.Kenneth Downie is one of the most respected and experienced brass band composers. His music has been widely performed and published throughout the brass band world since the 1960s.Handel in the Band was selected as the set work for the Championship Section final of the 2018 National Brass Band Championships of Great Britain, which took place at the Royal Albert Hall, London, on 6th October 2018.Duration: 15.00

    Estimated dispatch 7-14 working days
  • £19.99

    Handel in the Band (Brass Band - Score Only)

    Handel in the Band is a virtuoso set of symphonic variations on one of Handel's best known keyboard dances, the Sarabande from his Suite in D minor, HWV 437, based on the Spanish traditional dance La Folia. Kenneth Downie's work was commissioned by Brass Band Treize Etoiles, for performance at the 2013 Swiss National Brass Band Championships, where it was conducted by James Gourlay. The title is a reference to Percy Grainger's popular Handel in the Strand, and is indicative of the witty and theatrical nature of the music, which is more playful than conventional competition pieces and as such offers different challenges to brass bands as well as being thoroughly entertaining for audiences.Kenneth Downie is one of the most respected and experienced brass band composers. His music has been widely performed and published throughout the brass band world since the 1960s.Handel in the Band was selected as the set work for the Championship Section final of the 2018 National Brass Band Championships of Great Britain, which took place at the Royal Albert Hall, London, on 6th October 2018.

    Estimated dispatch 7-14 working days
  • £29.95

    Island Whirl

    Island Whirl was commissioned by Margaret Milligan who wanted a brand new piece of music composed as a present for Ian, her husband for his 70th birthday. Ian Milligan is a keen and dedicated musician and he is the musical director of Callendar Brass, based in Callendar near Stirling in Scotland.Margaret contacted me about the possibility of composing a short lively piece which had a Scottish theme that would be ideal for Callendar Brass Band and any other ensemble to get their teeth into. This piece takes its inspiration from the traditional Scottish folk song 'An Eriskay Love Lilt' which is a particular favourite of both Margaret and Ian.With thunderous Celtic drums the piece opens in a whirlwind of sound with fanfare brass and an off-stage soloist that can perform using either the cornet or trumpet. After the exciting opening, the brass and drums die away to allow the off-stage soloist to air the traditional tune 'An Eriskay Love Lilt'.The beautiful haunting melody, keeping its originality throughout undergoes a series of changes in the accompanying harmonic material before dying away to allow the Celtic drums to return. The percussion whip the band into a frenzy as the piece gets faster and faster. Just prior to the final notes the band diminuendo to allow one last closing statement from the Eriskay Love Lilt lead by the off-stage soloist before the ensemble charge to a dramatic close.When performing this piece I would recommend the off-stage soloist taking a position somewhere in the audience, so they can almost feel part of the performance. In addition, with the two tom-tom parts that represent the Celtic drums, bands should make the most of showcasing them by getting the two drummers out to the front of the band to perform. The ideal stage position would be with the players set up in stereo with one player in front of the soprano cornet and the other in front of the solo trombone.With the various choreographed movements from both the off-stage soloist and the percussionists. This piece is a great addition to any concert repertoire and is an ideal showcase for bands who want to try something a little different.I wish Ian at 70 years young, all the very best with his music making in the many years to come and I hope this piece, composed especially for him and Callender Brass brings them many years of musical enjoyment.Paul Lovatt-Cooper

    Estimated dispatch 7-14 working days
  • £37.95

    The Year of the Dragon (Score Only)

    The highlight of Cory's centenary celebrations throughout 1984 was a concert held in St. David's Hall, Cardiff, in March. The band, with the aid of funds provided by the Welsh Arts Council, commissioned Philip Sparke to write a work for first performance at this concert. The result was "The Year of the Dragon" of which the composer writes:"At the time I wrote The Year of the Dragon, Cory had won two successive National Finals and I set out to write a virtuoso piece to display the talents of this remarkable band to the full."The work is in three movements:TOCCATA opens with an arresting side drum figure and snatches of themes from various sections of the band, which try to develop until a broad and powerful theme from the middle of the band asserts itself. A central dance-like section soon gives way to the return of this theme, which subsides until faint echoes of the opening material fade to a close.INTERLUDE takes the form of a sad and languid solo for trombone. A chorale for the whole band introduces a brief spell of optimism but the trombone solo returns to close the movement quietly.FINALE is a real tour-de-force for the band with a stream of rapid semi-quavers running throughout the movement. The main theme is heroic and march-like but this is interspersed with lighter, more playful episodes. A distant fanfare to the sound of bells is introduced and this eventually returns to bring the work to a stirring close.

    Estimated dispatch 7-14 working days
  • £33.46

    Disinformation! (Brass Band) Joe Galuszka

    This atmospheric work by English composer Joe Galuszka is set in three movements: I. Fear II. Hope III. Solidarity (March for Truth) The composer writes: 'All around us is mistrust in the information we receive. Chinese misinformation. Russian disinformation. 'Fake News' in the United States. At every turn we doubt what we hear, what we see. Disinformation was composed in response to the ever-growing and all powerful misinformation campaigns worldwide that reached dizzying levels of influence, coming from some of the most eminent heads of states, during the turn of the 21st century. With division and disillusionment now rife and engrained in Western democracies, the unravelling of the social order is reflected in this short work for brass band. Opening with Fear, Disinformation starts with vast amounts of noise taking over the establishment and paints a world with people coming to terms with the cacophony of sound that is 'false information'. With a retreat to a brief moment of solace, Hope conjures up a calm escapism where on the outside, the brave and the wise look on to what is becoming of our new world. Maybe there is chance to pull together? Ending with a frenzied, brazen climax, the piece concludes with Solidarity - where people and the politicians come to loggerheads in a battle - where those who seek division are called out and the lies are laid bare for all to see, as we enter, once more, the unknown.' To listen to a recording of Solna Brassperforming the work please visit https://open.spotify.com/track/2gvPdCsvmykdWpm2yjz3Uk?si=68cc33805d16449c To view a rolling score video of this work please visit www.youtube.com/watch?v=z-0I47yfvM0 PDF download includes score and parts. Sheet music available from www.brassband.co.uk Difficulty Level: 1st Section + Length: 4.35 minutes 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 Percussion 1-4 (Part 2 optional)

    In Stock: Estimated dispatch 1-3 working days