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  • £24.95

    SUNSHINE OF YOUR SMILE (Brass Band) - Ray, Lilian - Bryce, Frank

    Brass Band Set (inc. Solo Cornet Conductor). The Sunshine of Your Smile was a British popular song published in London in 1913 just before the First World War.

    Estimated delivery 12-14 days
  • £27.50
  • £44.00

    Walking on Sunshine - Kimberley Rew - Stefan Schwalgin

    Walking on Sunshine has earned its place among the all-time favorite summer classics. Kimberley Rew, lead guitarist for the pop group Katrina and the Waves, wrote the song in 1985 and never looked back. Whether at a club or a cafe, everybody seems to smile when this song is heard. Bring sunshine to your next concert with Sefan Schwalgin's arrangement of this unforgettable classic!

    Estimated delivery 10-14 days

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  • £70.00

    In Storm and Sunshine - J. C. Heed - Bert Van Thienen

    In Storm and Sunshine - John Clifford Heed (arr. Bert Van Thienen) - 3'10'' - BVT001 John Clifford Heed (1862-1908) composed more then 60 marches, In Storm and Sunshine is one of his best known.

    Estimated delivery 10-14 days

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  • £30.00 £30.00
    Buy from Superbrass

    In Storm & Sunshine

    New Jersey born composer and musician John Clifford Heed, who was born during the American Civil War was as a cornet soloist and arranger in the legendary band of John Philip Sousa. J.C Heed was also known as the “March Wizard”. According to local legend in his hometown, it is claimed that Heed possibly wrote “The Stars and Stripes Forever”. Chris Houlding’s vibrant arrangement of “In Storm and Sunshine” is written in the style of a vibrant circus march, to be performed as quick as possible !Duration: 5 minutesPercussion: 3 players playing snare drum, bass drum, clash cymbals, triangle and glockenspiel. Grade 3: Medium 1st and 2nd Section Bands

  • £79.95

    Malcolm Arnold Variations - Score and Parts - Martin Ellerby

    MALCOLM ARNOLD VARIATIONS was commissioned by Philip Biggs and Richard Franklin for the 20th All England Masters International Brass Band Championship held in the Corn Exchange, Cambridge on 25 May 2008. The work is dedicated to Anthony Day, long time carer of Sir Malcolm Arnold in his final years. I first met Malcolm and Anthony in 1990 and remained in constant touch until Malcolm’s passing in 2006. Anthony, of course, remains a friend and plays his own role subliminally in this piece. The work is not based on any of Malcolm Arnold’s own themes, rather it is a portrait of him (and by association Anthony Day) through my eyes and as a result of my friendship with both parties over some 18 years. If there is any theme as such it is the personalities of the players, the protagonist and his carer placed together by my own efforts coloured and influenced by aspects of Arnold’s style and technique without recourse to direct quotation but through allusion and parody. It is of course designed as a brass band test piece but in my eyes is first and foremost a musical challenge. The pyrotechnical elements are there but always secondary to the musical thrust of the work’s structure. I have long beforehand submerged myself in Malcolm Arnold’s music and ultimately delivered this tribute. Music Directors will be advised to acquaint themselves with the composer’s personal music, particularly the film scores, symphonies, concertos and ballets: the solutions towards a successful interpretation of my piece are all in there – and YES, I want, and sanction, this piece to be interpreted, and therein lies the challenge for those of you ‘up front’! The challenge for players is that of virtuosity, ensemble and careful attention to where they are individually in relation to their colleagues – a question of balance, taste and insight. With regard to tempi, as is my usual custom, I have indicated all metronome marks with the prefix circa. I would suggest that the fast music is played at these tempos but that the more rubato moments can be allowed some freedom in expression and fluidity of line. With regard to the type of mutes to be employed – this decision I leave to the discretion of players and conductors. Structurally the work is cast as an Introduction, 20 Variations and a Finale. Some variations are self contained, others run into each other as sequences in the same tempo. In other variations, segments are repeated and developed. I could describe the overall concept as a miniature ballet or a condensed film score – there is much drama and character and the repeated elements assist this in driving the action forward. I have deliberately avoided the more extremely dark qualities of Malcolm’s own music in this, my celebration of this master-composer, as I have always viewed (and evidenced by my previous Masters scores Tristan Encounters and Chivalry) that the Cambridge contest is a ‘sunshine- affair’ and firmly believe that Malcolm Arnold would have had it no other way too!

    Estimated delivery 12-14 days
  • £39.95

    Malcolm Arnold Variations - Score Only - Martin Ellerby

    MALCOLM ARNOLD VARIATIONS was commissioned by Philip Biggs and Richard Franklin for the 20th All England Masters International Brass Band Championship held in the Corn Exchange, Cambridge on 25 May 2008. The work is dedicated to Anthony Day, long time carer of Sir Malcolm Arnold in his final years. I first met Malcolm and Anthony in 1990 and remained in constant touch until Malcolm’s passing in 2006. Anthony, of course, remains a friend and plays his own role subliminally in this piece. The work is not based on any of Malcolm Arnold’s own themes, rather it is a portrait of him (and by association Anthony Day) through my eyes and as a result of my friendship with both parties over some 18 years. If there is any theme as such it is the personalities of the players, the protagonist and his carer placed together by my own efforts coloured and influenced by aspects of Arnold’s style and technique without recourse to direct quotation but through allusion and parody. It is of course designed as a brass band test piece but in my eyes is first and foremost a musical challenge. The pyrotechnical elements are there but always secondary to the musical thrust of the work’s structure. I have long beforehand submerged myself in Malcolm Arnold’s music and ultimately delivered this tribute. Music Directors will be advised to acquaint themselves with the composer’s personal music, particularly the film scores, symphonies, concertos and ballets: the solutions towards a successful interpretation of my piece are all in there – and YES, I want, and sanction, this piece to be interpreted, and therein lies the challenge for those of you ‘up front’! The challenge for players is that of virtuosity, ensemble and careful attention to where they are individually in relation to their colleagues – a question of balance, taste and insight. With regard to tempi, as is my usual custom, I have indicated all metronome marks with the prefix circa. I would suggest that the fast music is played at these tempos but that the more rubato moments can be allowed some freedom in expression and fluidity of line. With regard to the type of mutes to be employed – this decision I leave to the discretion of players and conductors. Structurally the work is cast as an Introduction, 20 Variations and a Finale. Some variations are self contained, others run into each other as sequences in the same tempo. In other variations, segments are repeated and developed. I could describe the overall concept as a miniature ballet or a condensed film score – there is much drama and character and the repeated elements assist this in driving the action forward. I have deliberately avoided the more extremely dark qualities of Malcolm’s own music in this, my celebration of this master-composer, as I have always viewed (and evidenced by my previous Masters scores Tristan Encounters and Chivalry) that the Cambridge contest is a ‘sunshine- affair’ and firmly believe that Malcolm Arnold would have had it no other way too!

    Estimated delivery 12-14 days
  • £49.95

    The Haunted Halls - Paul Lovatt-Cooper

    This work was commissioned by Philip Biggs and Dr. Nicholas Childs for the National Children's Brass Band of Great Britain summer course 2006.The idea behind the piece lies with the magnificent surroundings in which the annual National Children's Brass Band of Great Britain course is held, The Bromsgrove School. The course is held over a week long period at the school. Both staff and students stay on the premises for the duration, making use of the schools boarding facilities. The school itself is huge with various buildings on site and steeped in history. On entering the premises you are immediately engulfed in the school's splendid grandeur and tradition as its unique appearance grabs you and whisks you off to a world of old fashioned headmasters, public schoolboys and boarding school antics. As the evening draws to a close there is a dark and eerie side to the building that sends a tingle up your spine. The piece originated from a story I imagined where at night ghouls, ghosts and spirits emerge from inside the building's walls, paintings and surroundings to cause havoc in their desperate attempt to free themselves from the purgatory that is the spirit world by haunting the living. A group of pupils wake, hearing the commotion and startle the spirits who see this as an opportunity to possess the beings in order to free them from their turmoil. A great chase ensues with the pupils using any means possible to escape from their pursuing spirits.The only weapon against the spirits is the dawning sunshine and so the adventure begins with the pupils having to escape from the chasing spirits and hope that dawn breaks and the sunshine engulfs the supernatural, imploding them back to their world. Paul Lovatt-Cooper (August 2006)

    Estimated delivery 5-7 days
  • £135.00

    Perihelion: Closer to the Sun (Brass Band - Score and Parts)

    Perihelion was commissioned by the Cory Band as their own-choice piece for the 2013 European Brass Band Championships, held in Oslo, Norway. Winning the set piece section of the contest and coming second to Eikanger-Bjorsvik Musikklag with their own choice selection, Cory went on to become European Champions for the fifth time.Cory MD Philip Harper had asked for a 'Concerto for Band' to fully exploit his outstanding band of virtuosi, and composer Philip Sparke created a one-movement work with contiguous sections, first featuring horns and flugel, then trombones followed by cornets and a slower central section for percussion and baritones, euphonium and basses.The piece is abstract in nature, without a specific programme, and the title merely reflects the fact that the piece was begun on January 2nd 2013, the day of Earth's perihelion - the point in its orbit when it is closest to the sun. It could also be argued that the piece weaves between moments of brilliant optimism and dark shadow, both of which can be the result of bright sunshine. 19:15

    Estimated delivery 12-14 days

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