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£7.23Euphonium Concerto with Brass Band (Karl Whelan) Soloist Copy
*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 To purchase the full band set please visit www.brookwrightmusic.com/product-page/euphonium-concerto-with-brass-band-karl-whelan *Please note this download only includes the soloist copy. 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 working days
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£65.00Second Suite in F - Brass Band Sheet Music Full Score & Parts - LM602 - Gustav Holst
COMPOSER: Gustav HolstTRANSCRIBED : Daniel S. AugustineA brand transcription from Holst's manuscript score for brass band.A very authentic version from the original for Military Band.Can be used as a testpiece in your next own choice contestSuitable for Section 3 bands upwardsSecond Suite in FOp. 28, No. 2 (1922)1. MarchThe "March" of the Second Suite begins with a simple five note motif between the low and high instruments of the band. The first folk tune is heard in the form of a traditional British brass band march using the morris-dance tune "Glorishears". After a brief climax, the second strain begins with a euphonium solo playing the second folk tune in the suite "Swansea Town". The theme is repeated by the full band before the trio. For the trio, Holst modulates to the unconventional subdominant minor of Bb minor and changes the time signature to 6/8, thereby changing the meter. Usually one would modulate to subdominant major in traditional march form. While Sousa, reputably the "king of marches", would sometimes change time signatures for the trio (most notably in "El Capitan"), it was not commonplace. The third theme, called "Claudy Banks",[2] is heard in a low woodwind soli, as is standard march orchestration. Then the first two tunes are repeated da capo.2. Song without Words "I'll Love My Love"Holst places the fourth folk song, "I'll Love My Love" in stark contrast to the first movement. The movement begins with a chord and moves into a solo over a flowing accompaniment. The solo is then repeated, forming an arc of intensity. The climax of the piece is a fermata, followed by a cornet pick-up into the final measures of the piece.3. Song of the BlacksmithAgain, Holst contrasts the slow second movement to the rather upbeat third movement which features the folk song "A Blacksmith Courted Me". There are many time signature changes (4/4 to 3/4) making the movement increasingly difficult because the accompaniment has a pick up on the up-beats of each measure. The band joins in on the melody around the body of the piece and are accompanied with the sound of a blacksmith forging metal with an anvil called for in the score. The final major chord has a glorious, heavenly sound, which opens way to the final movement.This chord works so effectively perhaps because it is unexpected.4. Fantasia on the "Dargason"This movement is not based on any folk songs, but rather has two tunes from Playford's Dancing Master of 1651. The finale of the suite opens with a solo based on the folk tune "Dargason", a 16th-century English dance tune included in the first edition of The Dancing Master. The fantasia continues through several variations encompassing the full capabilities of the band. The final folk tune, "Greensleeves", is cleverly woven into the fantasia by the use of hemiolas, with Dargason being in 6/8 and Greensleeves being in 3/4. At the climax of the movement, the two competing themes are placed in competing sections.As the movement dies down, a duet forms a call back to the beginning of the suite with the competition of low and high registers.The name 'dargason' may perhaps come from an Irish legend that tells of a monster resembling a large bear (although much of the description of the creature has been lost over time), the Dargason tormented the Irish countryside. During the Irish uprising of the late 18th century, the dargason is supposed to have attacked a British camp killing many soldiers. This tale aside, 'dargason' is more likely derived from an Old English word for dwarf or fairy, and the tune has been considered English (or Welsh) since at least the 16th century. It is also known as 'Sedony' (or Sedany) or 'Welsh Sedony'.
In Stock: Estimated dispatch 3-5 working days
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£119.95The Torchbearer (Symphonic Variations on a Theme by Eric Ball) (Brass Band - Score and Parts) - Graham, Peter
2015 National Championships Regionals - Championship Section. The variations are based upon the first phrase of the trio from Eric Ball's Salvation Army march, Torchbearers. After opening statements of the theme, variation 1 (an energetic allegro brillante utilising fragment A) commences. Cadenza passages for Eb Bass and Euphonium lead to variation 2 (an andante appassionato based upon fragment B) Variation 3 (a vivace featuring C as an ostinato) is followed by variation 4 (the central andante e sciolto molto for solo cornet). The work culminates in a reprise of the cornet solo, now fully metamorphosised and mirroring in music a concept at the centre of Ball's broader philosophy, that of transformation. Eric Ball will be remembered as a composer whose classic works for brass shine through with integrity and sincerity. There has been no less sincere in the composers' efforts to pay musical tribute to the 20th century's most influential composer of brass band music. Duration: 12:30
Estimated dispatch 7-14 working days
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£37.95
The Torchbearer (Symphonic Variations on a Theme by Eric Ball) (Brass Band - Score only) - Graham, Peter
2015 National Championships Regionals - Championship Section. The variations are based upon the first phrase of the trio from Eric Ball's Salvation Army march, Torchbearers. After opening statements of the theme, variation 1 (an energetic allegro brillante utilising fragment A) commences. Cadenza passages for Eb Bass and Euphonium lead to variation 2 (an andante appassionato based upon fragment B) Variation 3 (a vivace featuring C as an ostinato) is followed by variation 4 (the central andante e sciolto molto for solo cornet). The work culminates in a reprise of the cornet solo, now fully metamorphosised and mirroring in music a concept at the centre of Ball's broader philosophy, that of transformation. Eric Ball will be remembered as a composer whose classic works for brass shine through with integrity and sincerity. There has been no less sincere in the composers' efforts to pay musical tribute to the 20th century's most influential composer of brass band music. Duration: 12:30
Estimated dispatch 7-14 working days
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£30.00Hard Hats and Cornets - Terry Johns
This lively and melodic piece was commissioned by Maltby Colliery Band in 2000. It was written as a feature for solo cornet and the cornet section. For its first broadcast performance on Radio Scotland, from Edinburgh in 2009 Mark O'Keefe played the solo part with the band of COOP Glasgow. This piece makes an impressive encore or opening to a band concert and is also available in a version for ten brass.
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£55.00Italia
ABOUT THIS PIECE: Romance. Elegance. This is an exquisite arrangement of the song originally performed by Chris Botti and Andrea Bocelli: Italia. Composed by Chris Botti and David Foster, Italia is a heartfelt tribute to the beauty and passion of Italy, blending lush melodies with a sense of timeless sophistication. The original, featuring Botti's soaring trumpet lines and Bocelli's rich tenor voice, is celebrated for its emotional depth and breathtaking lyricism. This arrangement adapts those qualities for solo cornet, solo trombone, and brass band, offering a wonderful opportunity to explore the piece's expressive range and captivating musicality. ENSEMBLE: Cornet and Trombone with British Brass Band Accompaniment WHEN YOU BUY THIS PRODUCT, YOU GET: High-quality printed score and parts - DUE TO COPYRIGHT LAW THIS WORK IS ONLY AVAILABLE IN THE UK AND EUROPE LEVEL: 2 LISTEN: DURATION: 3-minutesEXAMPLE SCORE: Click here LEVEL GUIDE: Level 1- Accessible to all Level 2 - c. UK third section and higher Level 3 - c. UK second section and higher Level 4 - c. UK first section and higher Level 5 - c. UK championship section level
Estimated dispatch 5-7 working days
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£290.99Hymn of the Highlands (Complete Edition) (Brass Band - Score and Parts) - Sparke, Philip
Hymn of the Highlands was commissioned by David King and the Yorkshire Building Society Band for first performance at the 2002 European Brass Band Championships Gala Concert in Brussels. The complete suite lasts approximately 35 minutes however it is possible that pieces of different lengths can be constructed to feature particular soloists or fit different programming constraints.Includes:Ardross Castle, Duration: 7:00Summer Isles (Euphonium solo), Duration: 4:00Flowerdale (Soprano Cornet solo), Duration: 4:30Strathcarron (Sword Dance), Duration: 5:30Lairg Muir (Cornet solo), Duration: 4:30Alladale (Flugel Horn, Horn and Baritone trio), Duration: 4:15Dundonnell (Finale), Duration: 5:45Duration: 35:00
Estimated dispatch 7-14 working days
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£42.00Hymn at Sunrise (Score only) - Ray Steadman-Allen
The idea for this work was prompted by a poem - Hymn Before Sunrise - which describes the majesty of a mountain in darkness, the sounds of a nearby waterfall and so on. Nothing came of the exposure to these pictures except for general thoughts about the dawn of day and a series of movements expressing a personal response to the wonder of creation in an imaginary moment in time. The movement titles, which were added later, are intended to underline a prevailing sense of worship, wonder and exaltation. The music is pure, not pictoral, though listeners may conjure their own images. An actual hymn - Tallis' Cannon - is incorporated. There are five movements: 1. Thanksgiving: A short prelude in two parts. First a brief passage of 'dawn music' before things become more vigorous: fanfare-like music ushers in the trombone section's presentation of the Tallis tune. A broad band version concludes the movement. 2. De Profundis: A slow movement shot through with anxious questionings featuring flugel and trombone. The mood lightens a little in the centre where the soprano cornet is featured and the movement ends serenely. 3. Celebration is characterised by rhythmic drive, this is buoyant with plenty of incident pointed up by the percussion. 4. Invocation: Melodic in nature and sober in mood, the first section is a series of short solos mingled with chorale-like statements. Central to the movement is a chorale-prelude style presentation of the Tallis tune. The third section reintroduces the earlier solo music by the full ensemble. Dissolving, the music enters the last movement without a break. 5. Paean: Marked allegro con spirito there is, quite rightly, a fair amount of fun in the rejoicing. Snatches of Tallis are heard, then comes a gentle passage with a cornet solo leading to fanfare music and recapitulation. Two recitatives are succeeded by a coda which brings the work to a sonorous and exultant conclusion.
Estimated dispatch 7-9 working days
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£52.00Hymn at Sunrise (Parts only) - Ray Steadman-Allen
The idea for this work was prompted by a poem - Hymn Before Sunrise - which describes the majesty of a mountain in darkness, the sounds of a nearby waterfall and so on. Nothing came of the exposure to these pictures except for general thoughts about the dawn of day and a series of movements expressing a personal response to the wonder of creation in an imaginary moment in time. The movement titles, which were added later, are intended to underline a prevailing sense of worship, wonder and exaltation. The music is pure, not pictoral, though listeners may conjure their own images. An actual hymn - Tallis' Cannon - is incorporated. There are five movements: 1. Thanksgiving: A short prelude in two parts. First a brief passage of 'dawn music' before things become more vigorous: fanfare-like music ushers in the trombone section's presentation of the Tallis tune. A broad band version concludes the movement. 2. De Profundis: A slow movement shot through with anxious questionings featuring flugel and trombone. The mood lightens a little in the centre where the soprano cornet is featured and the movement ends serenely. 3. Celebration is characterised by rhythmic drive, this is buoyant with plenty of incident pointed up by the percussion. 4. Invocation: Melodic in nature and sober in mood, the first section is a series of short solos mingled with chorale-like statements. Central to the movement is a chorale-prelude style presentation of the Tallis tune. The third section reintroduces the earlier solo music by the full ensemble. Dissolving, the music enters the last movement without a break. 5. Paean: Marked allegro con spirito there is, quite rightly, a fair amount of fun in the rejoicing. Snatches of Tallis are heard, then comes a gentle passage with a cornet solo leading to fanfare music and recapitulation. Two recitatives are succeeded by a coda which brings the work to a sonorous and exultant conclusion.
Estimated dispatch 7-9 working days
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£34.95On the Castle Green
I was contacted by conductor and friend Desmond Graham who wanted to have a traditional concert march composed to celebrate the Golden Jubilee of his band; The Third Carrickfergus Band.Immediately my mind started wandering as I thought about all the great marches that I have enjoyed playing and listening to over the years. So when I put pen to paper I had already planned out the structure of the march and which instruments to feature.The march itself is split into two halves, the first in a minor key the second in a major key. The opening section starting loudly in F minor features stereotypical passages one would come to recognise in a traditional concert march: a cornet solo, a melodic bridging section and a robust bass solo led by the basses and trombones.The second half of the march changes pace and mood as it lifts into a major key giving it a more lighter feel. We hear a second cornet solo which plays the second theme of the march. After a second bridge section the theme is played by the front row cornets to allow the soprano to play an obligato melody similar to that heard in marches like "Army of the Nile" and "Stars and Stripes Forever". It all builds to a grandioso ending where the tempo drops and the final theme is played with a quick accel to the end.As for the title? In Carrickfergus lies an old castle that faces the town which is situated on a small plot of luscious green grass - "On The Castle Green".Paul Lovatt-Cooper
Estimated dispatch 7-14 working days
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