Results
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£89.95Infinity (Brass Band - Score and Parts) - Redhead, Robert
In the post-modern age in which we live, 'absolutes' are difficult for many to comprehend. Yet infinity, which means absolute, total, all-embracing, having no limits or boundaries in time, space, extent, or magnitude, has always been central to the Christian's concept of God.Through the ages, as human understanding has grown, particularly at a remarkable rate from the latter part of the twentienth century, Christianity has been continually challenged to interpret traditional beliefs in the light of new discoveries, but always within the reality of the infinite Being. In addition, scripture tells us that 'humanity was made in God's image'. Humankind is part of God's creation and as such, responsible for its upkeep. Such a commission has never been more relevant than in this present age. Psalm 8 creates a great picture of the majesty, eternal, infinte quality of God and yet reveals the desire of God to share in spirit with humankind. It recognises humankind as being, not a tool of the infinite, but as a creative contributing part of the ongoing movement and activity of the infinite. The music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality. It is not based on the Psalm but reflects some of the sentiments lying therein. The 'hymn-like' theme expresses the nature of the Divine using the Old Testament image of the infinite God coming to finite humankind, not in the 'wind', the 'earthquake', the 'fire', but in the 'still small voice' of quietness (1 Kings 19: 11-13). The ensuing musical development, in different styles and patterns, expresses this continual link between infinite and finite. Thus the conclusion, rather than being a symbol of might, power and magnificence, reflects the same sentiment as the opening.
Estimated dispatch 7-14 working days
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£44.95
Infinity (Brass Band - Score only) - Redhead, Robert
In the post-modern age in which we live, 'absolutes' are difficult for many to comprehend. Yet infinity, which means absolute, total, all-embracing, having no limits or boundaries in time, space, extent, or magnitude, has always been central to the Christian's concept of God.Through the ages, as human understanding has grown, particularly at a remarkable rate from the latter part of the twentienth century, Christianity has been continually challenged to interpret traditional beliefs in the light of new discoveries, but always within the reality of the infinite Being. In addition, scripture tells us that 'humanity was made in God's image'. Humankind is part of God's creation and as such, responsible for its upkeep. Such a commission has never been more relevant than in this present age. Psalm 8 creates a great picture of the majesty, eternal, infinte quality of God and yet reveals the desire of God to share in spirit with humankind. It recognises humankind as being, not a tool of the infinite, but as a creative contributing part of the ongoing movement and activity of the infinite. The music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality. It is not based on the Psalm but reflects some of the sentiments lying therein. The 'hymn-like' theme expresses the nature of the Divine using the Old Testament image of the infinite God coming to finite humankind, not in the 'wind', the 'earthquake', the 'fire', but in the 'still small voice' of quietness (1 Kings 19: 11-13). The ensuing musical development, in different styles and patterns, expresses this continual link between infinite and finite. Thus the conclusion, rather than being a symbol of might, power and magnificence, reflects the same sentiment as the opening.
Estimated dispatch 7-14 working days
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£10.00
Infinity (Brass Band - Study Score) - Redhead, Robert
In the post-modern age in which we live, 'absolutes' are difficult for many to comprehend. Yet infinity, which means absolute, total, all-embracing, having no limits or boundaries in time, space, extent, or magnitude, has always been central to the Christian's concept of God.Through the ages, as human understanding has grown, particularly at a remarkable rate from the latter part of the twentienth century, Christianity has been continually challenged to interpret traditional beliefs in the light of new discoveries, but always within the reality of the infinite Being. In addition, scripture tells us that 'humanity was made in God's image'. Humankind is part of God's creation and as such, responsible for its upkeep. Such a commission has never been more relevant than in this present age. Psalm 8 creates a great picture of the majesty, eternal, infinte quality of God and yet reveals the desire of God to share in spirit with humankind. It recognises humankind as being, not a tool of the infinite, but as a creative contributing part of the ongoing movement and activity of the infinite. The music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality. It is not based on the Psalm but reflects some of the sentiments lying therein. The 'hymn-like' theme expresses the nature of the Divine using the Old Testament image of the infinite God coming to finite humankind, not in the 'wind', the 'earthquake', the 'fire', but in the 'still small voice' of quietness (1 Kings 19: 11-13). The ensuing musical development, in different styles and patterns, expresses this continual link between infinite and finite. Thus the conclusion, rather than being a symbol of might, power and magnificence, reflects the same sentiment as the opening.
Estimated dispatch 7-14 working days
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£60.99Crazy Music in the Air (Brass Band - Score and Parts) - De Haan, Jacob
This composition in two parts is one of the first successful works Jacob de Haan published for brass band. Somewhat under the influence of Ted Huggen's Choral and Rock Out which was an overwhelming success at the time, the still very young Jacob de Haan wrote this composition. The first part (Air) exists of a choral melody with baroque grace notes, supported by a pop rhythm in the drums. The second part (Crazy Music) is a swinging bossa nova, in which various instrument groups present themselves in the continuously varying themes. The famous Black Dycke Mills Band contributed to the success of Crazy Music in the Air by regularly putting the piece on its tour programmes.Duration: 4:45
Estimated dispatch 7-14 working days
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£95.00
Penlee (Brass Band - Score and Parts) - Dobson, Simon
2013 Finals of the National Brass Band Championships of Great Britain - 3rd SectioTo some, the tragic story of the Penlee lifeboat, Solomon Browne, would need no introduction, and to some the pain felt is still very much a reality. The composer, born just a few weeks before that fateful night on the 19th December 1981, has created this work as a musical homage to the bravery of the souls who lost their lives and has dedicated it to their memory.Penlee was commissioned by the Cornwall Youth Brass Band using funds bequeathed by Michael Pickett. The first performance was given by the Cornish Youth Brass Band, conducted by Ian Porthouse, at St. Michael's Church, Newquay, on 30th December 2008.Penlee has been voted into the Classic FM Hall of Fame 2011 at No.106. Not only is it the first time a brass work has been featured in the Hall of Fame, but it was also the highest new entry.The work has subsequently been recorded by the Leyland Band, conducted by Jason Katsikaris, on the CD entitled Penlee.Suitable for Advanced Youth/3rd Section Bands and aboveDuration: 13:30
Estimated dispatch 7-14 working days
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£17.99Penlee (Brass Band - Score only) - Dobson, Simon
2013 Finals of the National Brass Band Championships of Great Britain - 3rd SectionTo some, the tragic story of the Penlee lifeboat, Solomon Browne, would need no introduction, and to some the pain felt is still very much a reality. The composer, born just a few weeks before that fateful night on the 19th December 1981, has created this work as a musical homage to the bravery of the souls who lost their lives and has dedicated it to their memory.Penlee was commissioned by the Cornwall Youth Brass Band using funds bequeathed by Michael Pickett. The first performance was given by the Cornish Youth Brass Band, conducted by Ian Porthouse, at St. Michael's Church, Newquay, on 30th December 2008.Penlee has been voted into the Classic FM Hall of Fame 2011 at No.106. Not only is it the first time a brass work has been featured in the Hall of Fame, but it was also the highest new entry.The work has subsequently been recorded by the Leyland Band, conducted by Jason Katsikaris, on the CD entitled Penlee.Suitable for Advanced Youth/3rd Section Bands and aboveDuration: 13:30
Estimated dispatch 7-14 working days
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£59.95Voices of Youth (Brass Band - Score and Parts) - Gregson, Edward
The suite Voices of Youth is one of Gregson's earliest brass band compositions, written while he was still a student at the Royal Academy of Music in London. Voices of Youth was commissioned by the National Youth Brass Band of Great Britain and was premiered by them under the baton of Geoffrey Brand.The work has three movements:Nobility of Youth (Duration: 4.00)Sadness and Tenderness (Duration: 2.30)Gaiety (Duration: 2.45)In Nobility of Youth there are the rich sonorities beloved of Salvationist composers such as Eric Ball and, particularly, Ray Steadman Allen, whose music he admired. The modal contour of the melodies here and at the climax of the slow movement Sadness and Tenderness reveal lessons well learned from Holst and Vaughan Williams. Gaiety is probably the most interesting amalgam of all. Beginning in the harmonic world of Gilbert Vinter - whose influence Gregson readily acknowledges at this time - the music is transformed into a bravura waltz of which Percy Grainger might have been proud. It then veers off via a contrapuntal episode of academic correctness, into a coda that takes us into more adventurous harmonic realms.Duration: 10.00
Estimated dispatch 7-14 working days
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£30.00O.B.1. Fanfare - Tom Watson
Tom Watson was born into a musical family in Hertfordshire, England and showed a flare for playing the trumpet from the age of just 4. Taught by his father James Watson, the prolific international soloist, conductor, educator and session trumpeter, Tom studied at the Royal Academy of Music, where he gained a first class honours degree. Whilst still at college, Tom embarked on a varied professional freelance-playing career and was guest principal trumpet with the Mahler Chamber Orchestra performing under Claudio Abbado, Daniel Harding, and Sir Neville Marriner. Tom can be regularly found performing and recording with the London Symphony Orchestra, The BBC National Orchestra of Wales and many of the UK's finest orchestras. Commercially, Tom has played in sessions or concerts for artists such as Sir Elton John, Sir Paul McCartney, Sir Tom Jones, Dame Shirley Bassey, Ozzy Osbourne, Phil Collins, Eric Clapton, Joe Cocker, Jarvis Cocker, Pete Doherty, Nick Cave, Karl Jenkins and Victoria Wood. Some of his film session work has included recording the scores for Brave, Eragon and Stormbreaker. Tom also works as a musical director, arranging and conducting various projects such as Tony Christie's album Made in Sheffield and for renowned harpist Catrin Finch. Tom also runs his own independent recording and production company Pro Audio, part of Prozone Music, which Tom owns and runs alongside his brother William. The O.B.1. Fanfare was written for the Harper Ensemble, a brass ensemble comprising of Tom's contemporaries from his time at the Royal Academy of Music. It was written for the Leicester Square UK premiere of the film "Ali" starring Will Smith. Composed as a salute to Hollywood and the big screen, this fine pastiche of film scoring is an ideal fanfare and concert opener.
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Anyone Who Had A Heart - Burt Bacharach and Hal David - Len Jenkins
"Anyone Who Had A Heart" is a song written by Burt Bacharach (music) and Hal David (lyrics) originally for Dionne Warwick in 1963. However, in the UK, Ireland and New Zealand, the cover version by Cilla Black was, and is still, the best loved. Championed by her friends The Beatles, she began her career as a singer in 1963, and her singles "Anyone Who Had A Heart" and "You're My World" both reached number one in the UK in 1964. From the first line, the song has a certain frisson: "Anyone who ever loved, could look at me, and know that I love you." Sadly, Cilla passed away on 1 August 2015 so this is our tribute to a well-loved lady and singer. Our objective has been to interpret the style of the original performance by Cilla, and whilst the time signatures may not be familiar, experience has shown that these are easier to read and play than the alternative using triplets.
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The Tricorn - Len Jenkins - Len Jenkins
The Tricorn is a style of three-cornered hat from Europe in the 18th century, generally referred to as a 'cocked hat' in Britain and popular in America at the time of the War of Independence. It may still be seen on ceremonial occasions as part of the town-cryer's dress in England and features in a popular German song for children 'Mein Hut, der hat drei Ecken'. However, in the case of this music, the reference is to the cornet section and the requirement for triple-tonguing on the Eb Soprano cornet. Whilst ostensibly a concert march in style, its jaunty rhythm makes you want to stride along and it may therefore be used as a 'road march' as well. Pressure on the Soprano cornetist as a soloist is reduced by adding the Solo Cornets to the melody line in the 'road march' version. With this in mind, we supply the music in both A4 (concert) and A5 (march-card) sizes as a package.
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