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£37.40World War III (Brass Band) Joe Galuszka
This descriptive work for brass band by Joe Galuszka depicts the horrors of war. War is all around us. Every day, another life is lost. Myanmar, Sudan, Ethiopia, Ukraine, Colombia, Afghanistan, Somalia, Syria and Yemen. As time goes on, more and more countries are brought to the end of what is a diplomatic struggle - in where war seems to be the only option. 'War! Terror! Panic! captures the tumultuous and relentless nature of war. With driving rhythms, aggressive brass fanfares, and thundering percussion, the listener is immersed in the chaos of battle. Dissonance and clashing harmonies depict the discord that pervades war and takes us on a journey through the terror and panic that comes with the brutality of conflict. Remembrance (For Those That We Have Lost) provides a poignant and reflective interlude, allowing the audience to contemplate the human cost of war. Mournful melodies and expressive solos for trombone, euphonium and glockenspiel, convey the depth of sorrow and loss, serving as a powerful reminder of the toll war takes on individuals and communities. The final movement, Hymn for Peace and Hope is a testament to the enduring human spirit and the yearning for harmony - dissonance and conflict gradually give way to consonance and resolution. We celebrate the human capacity for unity and the triumph of peace over strife, as we imagine a world at piece. To listen to an audio demo of the work please visit https://on.soundcloud.com/Udt1AWRThgwuWnQv5 Duration: Approx. 5.00 mins Difficulty Level: 2nd Section + PDF download includes parts and score. Sheet music available from www.brassband.co.uk (UK) or www.cimarronmusic.com (USA) 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 1-3
In Stock: Estimated dispatch 1-3 working days
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£34.00Meditation: It is Well With My Soul
ABOUT THIS PIECE: Cantatio are pleased to release this hymn meditation on the much-loved hymn by Adam D J Taylor. Commissioned by the world famous Wingates Band, this arrangement became a centrepiece of the band's online presence during the COVID pandemic. Story time... Horatio Spafford was a successful attorney and real estate investor who lost a fortune in the great Chicago fire of 1871. Around the same time, his beloved four-year-old son died of scarlet fever. Thinking a vacation would do his family some good, he sent his wife and four daughters on a ship to England, planning to join them after he finished some pressing business at home. However, while crossing the Atlantic Ocean, the ship was involved in a terrible collision and sunk. More than 200 people lost their lives, including all four of Horatio Spafford's precious daughters. His wife, Anna, survived the tragedy. Upon arriving in England, she sent a telegram to her husband that began: "Saved alone. What shall I do?" Horatio immediately set sail for England. At one point during his voyage, the captain of the ship, aware of the tragedy that had struck the Spafford family, summoned Horatio to tell him that they were now passing over the spot where the shipwreck had occurred. As Horatio thought about his daughters, words of comfort and hope filled his heart and mind. He wrote them down, and they have since become a well-beloved hymn: When peace like a river, attendeth my way, When sorrows like sea billows roll-- Whatever my lot, thou hast taught me to say It is well, it is well with my soul. ENSEMBLE: Standard British Brass Band WHEN YOU BUY THIS PRODUCT, YOU GET: High-quality printed score and parts LEVEL: 2 - 3 LISTEN: DURATION: c. 7-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
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£74.80Gothique Fantasy - On a theme by Boellmann (Brass Band) Andrew Wainwright
This magnificent work was commissioned by The Illinois Brass Band for the 2024 North American Brass Band Championships. Based on Leon Boellmann's epic organ work Suite Gothique, the 3rd movement of which is entitled Priere a Notre-Dame (A Prayer for Notre Dame), it pays tribute to the nearly 700-year-old Notre-Dame de Paris after the fire which did so much damage to this iconic building. Notre-Dame stands out for its three pipe organs (one historic) and its immense church bells, which are referenced at various times in Gothique Fantasy. Two of the other movements from Boellmann's work also provide inspiration for the piece, firstly the Introduction - Choral, and the famous Toccata, snippets of which appear at various times in the piece. Gothique Fantasy opens with the Choral, a solo offstage cornet sounding the opening statement. A quintet, stood to the side of the stage, takes up the Choral, while the rest of the band enters on held muted notes, creating a sustained effect evoking the harmonies spreading across the vast cathedral. Colossal organ-like sounds announce themselves as the full band takes on the theme. A lively Animato follows. Here there are continued references to the Choral, while the famous Toccata motif starts to appear. A Misterioso section ensues, which leads into a poignant Prayer for Notre Dame featuring a euphonium duet, where the music reflects upon the devasting fire and centuries of history and artefacts that were lost. A lone euphonium the sounds, representing the remaining remnants of the cathedral. A chaotic and rhythmic Presto, based on the Toccata, then follows and tests the technique of the band from top to bottom, whilst moving through various time signatures, the pulse lacking any sense of stability. A return to the Choral theme leads into a further reflective section, this time featuring the secondary theme from the Toccata with a flugel and solo horn duet. Next the music arrives at an aleatory section (Senza Misura), which depicts the remnants of the fire, followed by the grand cathedral emerging out of the ashes. Various motifs from earlier in the piece are heard across the band. At this point, various parts enter at different times on the conductor's signal, before building towards a 6/8 Presto. Here the music gathers momentum as it leads to a Grandioso finale featuring the Choral in all its glory. However, to conclude the work, the final strains of the Toccata sound, bringing the work to a glorious conclusion as Notre-Dame rises again! To view a video of The Illinois Brass Band performing the work please visit www.youtube.com/watch?v=xG3JB6Ye5aU Duration: 15.00 minutes approx. Difficulty Level: Championship Section This PDF download includes parts and score. Sheet music available from www.brassband.co.uk 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 Percussion 1-4
In Stock: Estimated dispatch 1-3 working days
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£15.00Perseverance
DescriptionPerseverance was commissioned by Middleton Band to mark their 140th anniversary in 2016, supported using public funding by the National Lottery through Arts Council England, and featured on Middleton Band's CD of the same name.The title is taken from the original name of the 1876 band, the Middleton Perseverance Drum and Fife Band. According to the band's historical records, the Drum and Fife band was formed by six Middleton youngsters eager to learn music but short of funds. Following a whip round, they visited a music shop in Oldham where they purchased a 'one key flute' for six shillings and sixpence, and ('later on') a drum.This determination to make music despite the odds has been a characteristic of the band ever since; at the end of the second world war the band was again down to six players, who rebuilt the 'Middleton Borough Band' back to twenty-six players. After a period of some considerable success throughout the sixties and seventies culminating in winning the National Third Section title in 1983 the band hit hard times again in the late eighties and was down to only four members in 1987 before again being brought back to life. In recent decades the band has built a strong relationship with the East Lancashire Railway, another organisation which has battled sometimes mighty obstacles in its struggle to survive, and has maintained a thriving and successful youth band.The band's will to survive through adversity is reflected in the music, which builds from a sextet of four brass and two percussion players three times, only to fall back to the sextet twice. In the central slow movement the bass drum plays a 'heartbeat' rhythm as the remaining players remember those lost in the war. The relentless pace of the final section culminates in the band triumphing over the adversity which has curtailed the previous two sections. As a former member of Middleton Band (and one of the team that regained the National Third Section title in 2007) it is my pleasure to dedicate this work to the 'Pop and Ale Boys', Middleton Band.You can read more about the piece here.To view the accompanying video by Andy Marshall, designed to precede the piece, clickhereand find out more about the link between the video and the music here.Recording with Score VideoPerformance NotesIn performance the four brass members of the sextet (soprano, solo horn, solo trombone and solo euphonium) should stand at the sides of the band - soprano and horn behind the cornets, trombone and euphonium behind the trombones. Percussion may stand with them at the conductor's discretion, but only if the band has TWO snare drums and TWO concert bass drums available, as these are also needed at the back of the band in the tutti sections. In the second sextet snare drum should be muffled with a heavy cloth OR have the snares turned off (not both).Percussion and mutesPercussion required:snare drum (muffled with a heavy cloth at one point)concert bass drum, kit bass drum, hi-hat, suspended (crash) cymbal2 x tom-tomswood blockclash cymbals3 x timpanitam-tamglockenspielSoprano cornet, repiano and 2nd cornets, flugel and all trombones require metal straight mutes. Soprano, Solo Cornet 3/4, Repiano 2nd and 3rd cornets require cup mutes. Solo Cornet 1/2, Repiano, 2nd and 3rd cornets require harmon mutes.
Estimated dispatch 7-14 working days
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£35.00
Epitaph (for Hillsborough) - Peter Meechan
Epitaph (for Hillsborough) was written on the 20th anniversary of the Hillsborough stadium disaster, April 15 1989, in memory of the 96 victims. All of the victims were fans of Liverpool Football Club, the club I have supported since I was a young child.The disaster unfolded in front of the BBC television cameras, and due to the importance of the match (FA Cup semi final), millions, including myself, witnessed it first hand, leaving a lasting impression in the public psyche.Several features of the piece were determined by the tragedy. The length of the piece, 6 and a half minutes, represents the minutes of the game that were played that day (The match was abandoned after 6 minutes), and the final thirty seconds of the work, where the band gently applaud, is a reference to the first match played after the tragedy, a European Cup semi final between AC Milan and Real Madrid.After 6 minutes, the referee blew his whistle and all the players stood still where they were, both sets of fans applauded in memory of the perished, and the fans of AC Milan began singing Youall Never Walk Alone, the anthem of Liverpool Football Club.The work also features 96 strikes of the tubular bells, in memory of each person who lost their life.Epitaph is dedicated to the 96 people who died that day, and to their families whose fight for justice is an inspiration to all.
Estimated dispatch 12-14 working days
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£77.00General Series Brass Band Journal, Numbers 2238 - 2241, December 2023
2238: Fanfare and allegro on the Doxology (Steve Kellner)The Doxology, set to the tune Old Hundredth (T.B. 31), is used widely around the world by Christian denominations, including Salvationists. This concert opener is based on the short but powerful hymn of praise to the Triune God.2239: To the endless day (Kenneth Downie)This is a meditation on the hymn tune Ruth (T.B. 191), written by Samuel Smith. It is a particular favourite of Don Jenkins, whose late wife was also called Ruth. This music is dedicated to Don, a distinguished trombone soloist and former Band master of Bristol Easton Corps Band.The music is always associated with the hymn by William Walsham How, whose words begin 'Summer suns are flowing over land and sea' (S.A.S.B. 59) with the title coming from the end of the final verse.2240: Euphonium Solo - He giveth more grace (Ray Steadman-Allen)This 1996 arrangement of Blacklands (T.B. 527), the composers own hymn tune written in 1963, is being published posthumously. The hymn tune sets the words 'He giveth more grace as our burdens grow greater' (S.A.S.B. 30) with an emphasis on the generosity of God.2241: The Calvary effect (Ian Clarke)Around AC 30, on a hill often refered to as Mount Calvary, an event took place that was to change the world forever. The Calvary effect is a reflection, in musical form, on that event and what it still means to people today. If features two tunes: first, in a quiet reflective mood, we hear the highly emotive Healing Stream, associated with the words 'Jesus, keep me near the cross; There is a precious fountain' (S.A.S.B. 178). This then makes way for the chorus; 'Lord, make Cavalry real to me' (S.A.S.B. 182), which is at times indistinct and almost lost in its surroundings, reflecting the sentiments of the chorus. A return to the main tune follows, this time in a positive, passionate setting. The music finishes with a triumphant 'Hallelujah!'.
Estimated dispatch 7-14 working days
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£95.00King Lear (Brass Band - Score and Parts)
Sir Granville Bantock (1868 - 1946) composed the second of his five major brass band work for Callender's Cableworks Band, completing the commission on 30 November 1932. Based in the Thames-side district of Belvedere near Erith, the band was active between 1898 and 1961. The works band of the Callender Cable & Construction Co. Ltd, it was at the peak of its popularity during the 1930s and was a frequent broadcaster on the radio. The band employed an in-house arranger and played saxophones in its lighter material. King Lear was one of the band's major commissions and was not published in Bantock's lifetime. The manuscript score and parts were thought to be lost for decades, but were found in the library of the Haydock Band (Lancashire), which had inherited part of Callender's library of manuscripts material and bespoke arrangements after it has been transferred to nearby Prescott Cables Band after Callender's Cable Works closed.King Lear is a substantial work, in essence a dramatic tone poem in the romantic Tchaikovskian manner, presenting a series of character portraits of the foolish old king and his three daughters, Goneril, Regan and Cordelia. The music is dramatic and lyrical by turns, with the most generous lyrical episode revealing perhaps the warm-hearted Cordelia. An expansive melody that flows from this is brought back towards the end as the main climax of the work.In 2001, Bantock's score was recorded by the University of Salford Brass Band, conducted by Dr. Roy Newsome. The original is serviceable, but in comparison with the orchestral version he made in 1936 (part of which was recorded on a Paxton 78 rpm) and later brass band scores, performing editions of which were prepared by others, it lacks colour and range typical of Bantock's orchestral work. Above all it lacks percussion, which can be heard on the recorded extract. With the kind permission of the Bantock Estate, I have prepared a performing edition for publication that incorporates percussion, derived from the orchestral recording and added editorially in similar manner elsewhere. I have revoiced some of the low- lying instrumental parts to present the material in more comfortable ranges. Editorial interventions more elaborate than revoicing the original text have been identified as cue notes.- Paul HindmarshDuration: 15.00
Estimated dispatch 7-14 working days
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£40.00
King Lear (Brass Band - Score only)
Sir Granville Bantock (1868 - 1946) composed the second of his five major brass band work for Callender's Cableworks Band, completing the commission on 30 November 1932. Based in the Thames-side district of Belvedere near Erith, the band was active between 1898 and 1961. The works band of the Callender Cable & Construction Co. Ltd, it was at the peak of its popularity during the 1930s and was a frequent broadcaster on the radio. The band employed an in-house arranger and played saxophones in its lighter material. King Lear was one of the band's major commissions and was not published in Bantock's lifetime. The manuscript score and parts were thought to be lost for decades, but were found in the library of the Haydock Band (Lancashire), which had inherited part of Callender's library of manuscripts material and bespoke arrangements after it has been transferred to nearby Prescott Cables Band after Callender's Cable Works closed.King Lear is a substantial work, in essence a dramatic tone poem in the romantic Tchaikovskian manner, presenting a series of character portraits of the foolish old king and his three daughters, Goneril, Regan and Cordelia. The music is dramatic and lyrical by turns, with the most generous lyrical episode revealing perhaps the warm-hearted Cordelia. An expansive melody that flows from this is brought back towards the end as the main climax of the work.In 2001, Bantock's score was recorded by the University of Salford Brass Band, conducted by Dr. Roy Newsome. The original is serviceable, but in comparison with the orchestral version he made in 1936 (part of which was recorded on a Paxton 78 rpm) and later brass band scores, performing editions of which were prepared by others, it lacks colour and range typical of Bantock's orchestral work. Above all it lacks percussion, which can be heard on the recorded extract. With the kind permission of the Bantock Estate, I have prepared a performing edition for publication that incorporates percussion, derived from the orchestral recording and added editorially in similar manner elsewhere. I have revoiced some of the low- lying instrumental parts to present the material in more comfortable ranges. Editorial interventions more elaborate than revoicing the original text have been identified as cue notes.- Paul HindmarshDuration: 15.00
Estimated dispatch 7-14 working days
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£74.95Eden (Score and Parts)
This work was commissioned by the Brass Band Heritage Trust as the test piece for the final of the 2005 Besson National Brass Band Championship, held at the Royal Albert Hall, London.The score is prefaced by the final lines from Milton's epic poem Paradise Lost (completed in 1663), in which Adam and Eve, expelled from Paradise, make their uncertain way into the outside world:"...The world was all before them, where to chooseTheir place of rest, and providence their guide:They hand in hand with wandering steps and slow,Through Eden took their solitary way."My work is in three linked sections. In the first, the characters of Adam, Eve and the serpent guarding the Tree of Knowledge are respectively represented by solo euphonium, cornet and trombone. The music opens in an idyllic and tranquil mood and leads into a duet between euphonium and cornet. Throughout this passage the prevailing mood darkens, though the soloists seem to remain oblivious to the increasingly fraught atmosphere. A whip-crack announces the malevolent appearance of the solo trombone who proceeds to engage the solo cornet in a sinister dialogue.The second section interprets the Eden story as a modern metaphor for the havoc mankind has inflicted upon the world, exploiting and abusing its resources in the pursuit of wealth. Though certainly intended here as a comment on the present-day, it is by no means a new idea: Milton himself had an almost prescient awareness of it in Book I of his poem, where men, led on by Mammon:"...Ransacked the centre and with impious handsRifled the bowels of their mother earthFor treasures better hid. Soon had his crewOpened into the hill a spacious woundAnd digged out ribs of gold."So this section is fast and violent, at times almost manic in its destructive energy. At length a furious climax subsides and a tolling bell ushers in the third and final section.This final part is slow, beginning with an intense lament featuring solos for tenor-horn, flgel-horn and repiano cornet and joined later by solo baritone, soprano cornet, Eb-bass and Bb-bass.At one stage in the planning of the work it seemed likely that the music would end here - in despair. Then, mid-way through writing it, I visited the extraordinary Eden Project in Cornwall. Here, in a disused quarry - a huge man-made wound in the earth - immense biomes, containing an abundance of plant species from every region of the globe, together with an inspirational education programme, perhaps offer a small ray of hope for the future. This is the image behind the work's conclusion and the optimism it aims to express is real enough, though it is hard-won and challenged to the last.John Pickard 2005
Estimated dispatch 7-14 working days
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£29.50Eden (Score Only)
This work was commissioned by the Brass Band Heritage Trust as the test piece for the final of the 2005 Besson National Brass Band Championship, held at the Royal Albert Hall, London.The score is prefaced by the final lines from Milton's epic poem Paradise Lost (completed in 1663), in which Adam and Eve, expelled from Paradise, make their uncertain way into the outside world:"...The world was all before them, where to chooseTheir place of rest, and providence their guide:They hand in hand with wandering steps and slow,Through Eden took their solitary way."My work is in three linked sections. In the first, the characters of Adam, Eve and the serpent guarding the Tree of Knowledge are respectively represented by solo euphonium, cornet and trombone. The music opens in an idyllic and tranquil mood and leads into a duet between euphonium and cornet. Throughout this passage the prevailing mood darkens, though the soloists seem to remain oblivious to the increasingly fraught atmosphere. A whip-crack announces the malevolent appearance of the solo trombone who proceeds to engage the solo cornet in a sinister dialogue.The second section interprets the Eden story as a modern metaphor for the havoc mankind has inflicted upon the world, exploiting and abusing its resources in the pursuit of wealth. Though certainly intended here as a comment on the present-day, it is by no means a new idea: Milton himself had an almost prescient awareness of it in Book I of his poem, where men, led on by Mammon:"...Ransacked the centre and with impious handsRifled the bowels of their mother earthFor treasures better hid. Soon had his crewOpened into the hill a spacious woundAnd digged out ribs of gold."So this section is fast and violent, at times almost manic in its destructive energy. At length a furious climax subsides and a tolling bell ushers in the third and final section.This final part is slow, beginning with an intense lament featuring solos for tenor-horn, flgel-horn and repiano cornet and joined later by solo baritone, soprano cornet, Eb-bass and Bb-bass.At one stage in the planning of the work it seemed likely that the music would end here - in despair. Then, mid-way through writing it, I visited the extraordinary Eden Project in Cornwall. Here, in a disused quarry - a huge man-made wound in the earth - immense biomes, containing an abundance of plant species from every region of the globe, together with an inspirational education programme, perhaps offer a small ray of hope for the future. This is the image behind the work's conclusion and the optimism it aims to express is real enough, though it is hard-won and challenged to the last.John Pickard 2005
Estimated dispatch 7-14 working days
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