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£79.95Grieg Variations - Jonathan Bates
DURATION: 12'30". DIFFICULTY: 2nd+. . 'Grieg Variations' is a through-composed work in the traditional style of a 'theme & variations'. The work opens with the main melodic fragment featured throughout Grieg Variations which comes from Grieg's Peer Gynt Suite No.2; the final movement - 'Solveig's Song'. . This theme is followed by a set of 9 variations, each taking inspiration from various melodies and styles found within the Peer Gynt Suite. The first variation, a light-footed scherzo based upon the tonal line of Solveig's Song is followed by an 'Alla marcia' variation - in which the music is inspired by the 2nd movement - 'Arab Dance' - of the original suite. The 3rd variation takes a far darker and more aggressive turn in a variation set around the music of the 1st movement of the Peer Gynt Suite before a relaxation into a solemne revisiting of the original theme. Opening with a sombre and longing solo for Flugel horn, the focal point of this 4th variation is an extended solo for the Solo Euphonium, marked 'molto espressivo'. The new material here is used as a theme throughout this variation, being reprised by the full band immediately after as the music builds to a climax point at the top of the musical line. . Following this, there are 2 cadenzas for the Solo Horn and Solo Cornet respectively; the former inspired by the thematic material of Solveig's Song, and the latter from the Oboe cadenza at the beginning of Grieg's '2 Lyric Pieces, Op.68'. These cadenzas lead swiftly into the 7th variation, a bustling rhyhm-driven movement set in complex time. The 3rd movement of the Peer Gynt Suite No.2 - 'Peer Gynt's Homecoming' - makes it's first appearance in variation 8 in a triumphant battle-like setting before a combination of both this material and the Solveig's Song combine to bring Grieg Variations to it's close -not without a little nod to potentially Grieg's most famous work - In The Hall of the Mountain King. . .
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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£68.99Pyrenean Carol Suite (Brass Band) David Taylor
This attractive suite for brass band by David Taylor features five traditional carols from the Pyrenees region of Spain, as follows: i. Nadal Tindaire (Jingling Christmas) - Occitan traditional This Occitan Christmas song tells of musical instruments used to celebrate the Nativity - 'fifes and trumpets, timpani and pipes, or you, clear little bells, along with the angels' choir.' ii. Gabriel's Message (Birjina Gaztetto Bat Zegoen) - Basque traditional The most widely-known of the chosen carols, honouring Jesus's mother Mary, this is often sung in its English version, but the melody came from the Basque country. The Basque words were adapted from the Mediaeval song Angelus ad Virginem. Here, we feature the flugel horn. This movement was originally written on its own, with organ accompaniment, for the composer's wife, Diane Scott. iii. El Noi de la Mare (The Child of the Mother) - Catalan traditional A beautiful Catalan carol celebrating the birth of Jesus, telling of the tasty gifts that the singer would bring - 'Raisins and figs and nuts and olives; Raisins and figs and honey and mato [a Catalan dessert cheese traditionally served with honey.]' Here we feature the euphonium. The tune was made famous by guitarist Andres Segovia, who used it as a favourite encore, and by John Rutter, who made a widely-used setting for choir. iv. Paure Satan (Poor Satan) - Occitan traditional This rather unusual carol tells of the pain that Satan is put to by the arrival of the infant Jesus. Its mocking and sarcastic tone is reflected here, where the tuba soloist (as Satan) is given musical trouble throughout by the other parts. At first they conflict with the soloist, then the soloist makes overtures of friendship, which are treated with suspicion followed by contempt. The soloist finally gives in to their accompaniment (or do they?). There are plenty of opportunities for little theatrical touches here, if the tuba player is so inclined! The tuba part in this movement is notably more difficult than the rest of the music, and a number of optional changes have been marked to make the part easier to play, if so desired. The player is also welcome to add suitable extra embellishments to taste if they wish, within the character of the music. v. Fum, Fum, Fum! - Catalan traditional A favourite Catalan Christmas song for centuries, this rousing melody provides a fitting way to round off the suite, with its repeated rhythmic refrain of the nonsense title phrase. It tells of the Nativity, and then it tells of the celebratory feasting and good times that the singers look forward to to honour it. Although the suite is intended to be performed whole, it is also intended for usage with a selection of movements on occasions where a shorter piece is wanted. Suggested formats include a single movement alone (2, 3, and 5 are likely most appropriate), a pair of movements (any of the first four, plus 5), and a suite of three or four movements (1 and 5, plus one or two of 2, 3, or 4 in the middle). It is suggested that a good way to design a 'pick-your-own-suite' from the movements is to think of the earlier movements as introductory to the final movement. To view a rolling score video featuring Kidlington Concert Brass please visit www.youtube.com/watch?v=QIGdul-yxxg PDF download includes score and parts. Sheet music available from: UK - www.brassband.co.uk USA - www.cimarronmusic.com Difficulty Level: 3rd Section + Length: 9.45 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 1-2
In Stock: Estimated dispatch 1-3 working days
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£59.95Judd: Caelum Corona - Stephen Bulla
Stephen Bulla's 'Caelum Corona' ('Crown of Heaven') portrays, in sound, a Christian's walk in faith, intended metaphorically via a musical narrative reminiscent of the early church pilgrims, their struggles and triumphs. The composer initially evokes the atmosphere of Rome at the time of St. Paul and other martyrs, thus the Latin title. Bulla marks his imaginative tone poem with dark, brooding music in the first two of three parts, in each of which he has embedded an appropriate hymn or song reference as thematic material. The first of these sounds in a minor key following a symphonic exposition made up primarily of fanfare-like motives, the music at times quite harsh and abrasive. The song is Paul's statement of exuberant faith (2 Timothy 1:12) in the midst of prison and persecution: 'For I know whom I have believed, and am persuaded that he is able to keep that which I've committed unto him against that day.' More challenging, aggressive music returns until a further point of reflection on Christ's sacrifice is reached. The music graphically evokes the barren landscape of Golgatha, the horror of the crucifixion, including stark wind sounds, a loss of stability via eerie, dissonant chord clusters, and even the nails being driven into Christ's body. The Baritones and then Flugel Horn softly play 'He died of a broken heart.' Yet the Christian life, despite its perils - both at the time of Paul and now - is a victorious life, and the composer resolves the tensions of the work in a scintillating finale, a brilliant setting of the old song about spiritual warfare and the ultimate triumph of Christ the King: 'Victory for me!' (T.B. 841). The chorus of that tune proclaims: 'No retreating, hell defeating, shoulder to shoulder we stand; God look down, with glory crown our conq'ring band.' That crowning is the same one sought and claimed by St. Paul (2 Timothy 4:8): 'Now there is in store for me a crown of righteousness, which the Lord, the righteous judge, will award me on that day, but also to all who have longed for his appearing.' Believers look forward to participating in the final coronation of their Saviour - King of Kings and Lord of Lords - while humbly desiring their own 'crown of heaven.'
Estimated dispatch 7-14 working days
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£44.00
Don't Sit Under the Apple Tree - Stept-Brown-Tobias - Bjorn Morten Kjaernes
"Don't Sit Under the Apple Tree (With Anyone Else but Me)" is a popular song that was made famous by Glenn Miller and by the Andrews Sisters during World War II. Its lyrics are the words of two young lovers who pledge their fidelity while one of them is away serving in the war. Originally titled "Anywhere the Bluebird Goes", the melody was written by Sam H. Stept as an updated version of the nineteenth-century English folk song "Long, Long Ago". Lew Brown and Charles Tobias wrote the lyrics and the song debuted in the 1939 Broadway musical Yokel Boy. After the United States entered the war in December 1941, Brown and Tobias modified the lyrics to their current form, with the chorus ending with "...'till I come marching home".In 1942 the song was featured in the film Private Buckaroo as a performance by the Andrews Sisters with the Harry James orchestra and featuring a tap dancing routine by The Jivin' Jacks and Jills. It was featured in the films Twelve O'Clock High (1949), With a Song in My Heart (1952), Kiss Them for Me (1957), A Carol for Another Christmas (1964), In Dreams (1999) and The Master (2012). It also featured in the mini-series The Pacific. You can use the song both on musical concerts, movie concerts or just as a happy jazz tune on your next concert. On the sections (like from bar 25), please work carefully to make a good balance with all parts, and that each chord is balanced. With 4-part harmonies sometimes you need to hold back certain notes to make the accord sound good. If you want to open up for a longer improvisation, you can repeat 65 to 81, but then change the part 2 in bar 80 from Eb to a D on the repeat. The accord will be an F6 instead of F7 (on beat 3 and 4 in bar 80) Have fun and enjoy!
Estimated dispatch 7-14 working days
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£25.00Ring of Fire (Johnny Cash arr. by David Beal) - Brass Band Sheet Music Full Score & Parts - LM782
COMPOSER: June Carter Cash and Merle KilgoreARRANGER: David BealUK SALES ONLY"Ring of Fire"is a song written byJune Carter CashandMerle Kilgoreand popularized byJohnny Cashin 1963.The single appears on Cash's 1963 album,Ring of Fire: The Best of Johnny Cash.The song was originally recorded by June's sister,Anita Carter,on her Mercury Records albumFolk Songs Old and New(1963)as "(Love's) Ring of Fire".Mercury released Anita's version as a single and it was a featured "pick hit" inBillboardmagazine.After hearing Anita's version, Cash claimed he had adream where he heard the song accompanied by "Mexican horns".Cash said, "I'll give you about five or six more months,and if you don't hit with it, I'm gonna record it the way I feel it."Cash noted that adding trumpets was a change to his basic sound"Ring of Fire" was ranked #4 onCMT's 100Greatest Songs of Country Musicin 2003 and #87onRolling Stone's list ofThe 500 Greatest Songs of All Time.In June2014,Rolling Stoneranked the song #27 on its list of the100greatest country songs of all time.The song was recorded on March 25, 1963, and became one of thebiggest hits of Cash's career, staying at number oneon the country chart for seven weeks.It was certified Gold on January21, 2010,by theRIAAand has also sold over1.2million digital downloads.UK SALES ONLYLM782 - ISMN : 9790570007820
In Stock: Estimated dispatch 3-5 working days
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£39.95Softly, As I Leave You - Alfred de Vita arr. Alan Catherall
Made popular by many singers over the years, this lovely song was first arranged for the Childs brothers as a solo, and later a duet, by Alan Catherall. It was first performed in the duet version at the Royal Albert Hall, London, in October 1985, conducted by their late father, John Childs. Also available with piano Brass Band Set comprises: Detailed condensed conductor score Solo B-flat Euphonium B-flat Euphonium Duet (2) E-flat Soprano Cornet Solo B-flat Cornet (4) 2nd B-flat Cornet (2) 3rd B-flat Cornet (2) B-flat Flugelhorn* Solo E-flat Horn* 1st E-flat Horn* 2nd E-flat Horn 1st B-flat Baritone 2nd B-flat Baritone 1st B-flat Trombone 2nd B-flat Trombone Bass Trombone B-flat Euphonium (2) E-flat Bass (2) B-flat Bass (2) 1st Percussion 2nd Percussion 3rd Percussion (Drum Kit) * Alternative parts for use as solo or duet provided. There is no Repiano Cornet part.
Estimated dispatch 7-9 working days
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£50.00Triumph Series Band Journal March 2015 Numbers 1259 - 1262
No. 1259 March - Divine Care (Eiliv Herikstad)The message of this march is 'God will take care of you!' The introduction reflects the beginning of the song, God will take care of you (T.B.C.S. 124), which is presented in full at sections C and D.No. 1260 (1) Cornet Solo - Become aware of him (Michael Davis)A setting for Cornet and band of Colonel Robert Redhead's song, Become aware of him, which was originally published in The Musical Salvationist.No. 1260 (2) Hymn Tune Arrangement - St Peter (David Rowsell)An arrangement of the tune, St Peter, associated with the song, In Christ there is no east or west.No. 1261 Song Arrangement - The deep love of Jesus (Andrew Blyth)The strong hymn tune of Ebenezer (T.B. 433) was composed by Welshman, Thomas John Williams (1869-1944), who served as organist and choir director at various churches in and around Llanelli. This arrangement is more relaxed in style than the original and attempts to convey the freedom of the verses mostly associated witht he tune by Samuel T. Francis (1835-1925) O deep, deep love of Jesus, vast, unmeasured, boundless, free.No. 1262 Everybody praise his holy name (Nicholas King)A bright arrangement by Nicholas King of Remco Hakkert's song, Praise his holy name.
Estimated dispatch 7-14 working days
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£60.00General Series Band Journal December 2014 Numbers 2138 - 2141
No. 2138 Song Arrangement - Praise his holy name! (Dean Jones)Dr Keith Hampton's song has been popular with choral groups for the best part of two decades. In this arrangement for band, Dean Jones has kept close to the original vocal version.No. 2139(1) Prelude on 'Hereford' (Norman Bearcroft)The beautiful tune of Hereford was written in 1872 by Samuel Sebastian Wesley and is often associated with the words of his grandfather, Charles Wesley; 'O thou who camest from above'.No. 2139(2) The Lord bless you and keep you (arr. Paul Sharman)Nik and Emma Pears have written this lovely setting of familiar words, which has been arranged as a benediction for band by Paul Sharman.No. 2140 Now I belong to Jesus (Steven Ponsford)This beautiful, descriptive arrangement of the well-loved song has an imaginatively extended ending, with long notes and rich harmonies, to give the impression of time stretching out into eternity.No. 2141 My name is written there! (Kenneth Downie)This setting of General Albert Orsborn's lovely song was inspired by a Corps retreat based on the theme 'The Calvary track'. The music provides a fitting commentary on the lyrics of the song.
Estimated dispatch 7-14 working days
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£55.00Could it be Magic
ABOUT THIS PIECE: It's finally here... Bring the energy and nostalgia of a pop classic to your next programme with this sensational arrangement by Adam D J Taylor of Could It Be Magic. Written by Barry Manilow and Adrienne Anderson, the song draws inspiration from Frdric Chopin's Prelude in C Minor, blending classical influences with a contemporary pop style. First released by Manilow in 1973, the song gained further fame through a dynamic reinterpretation by Take That in the 1990s, making it a favourite across generations. This arrangement captures the dramatic flair and infectious rhythm that have made Could It Be Magic a timeless hit. From its serene opening to its soaring melodies, it's a guaranteed showstopper that will we're sure will have audiences on the edge of their seats. Whether as a thrilling concert feature or a lively encore, this arrangement is sure to be a huge hit with bands and audiences alike. Don't miss the chance to add a touch of magic to your next performance! ENSEMBLE: Standard British Brass Band WHEN YOU BUY THIS PRODUCT, YOU GET: High-quality printed score and parts LEVEL: 2 LISTEN: DURATION: c. 5-minutes, 30-seconds EXAMPLE 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
