Results
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£34.95Gymnopedie No.1 (Brass Band - Score and Parts) - Satie, Erik - Bowen, Brian
This is a transcription for brass band of the first, and most well-known, of Erik Satie's three Gymnopedies for piano which were composed in 1888. All three are similar melodically and pianistically. However, the first and last are more well-known, partly due to the later orchestrations by Debussy.Some mystery surrounds the Greek-rooted title, yet explicitness is immaterial to an appreciation of the music. This brass version should not mask the naivete of the original score, though that may be easier said than done.Tenor Horn and Eb Bass mutes are requested by the arranger and will enhance the transcription if available.
Estimated dispatch 7-14 working days
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£17.50
Gymnopedie No.1 (Brass Band - Score only) - Satie, Erik - Bowen, Brian
This is a transcription for brass band of the first, and most well-known, of Erik Satie's three Gymnopedies for piano which were composed in 1888. All three are similar melodically and pianistically. However, the first and last are more well-known, partly due to the later orchestrations by Debussy.Some mystery surrounds the Greek-rooted title, yet explicitness is immaterial to an appreciation of the music. This brass version should not mask the naivete of the original score, though that may be easier said than done.Tenor Horn and Eb Bass mutes are requested by the arranger and will enhance the transcription if available.
Estimated dispatch 7-14 working days
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£34.95CLAPP! (Brass Band) - McGhee, Paul
Clapp! was originally written in 2006 whilst studying at the Royal Welsh College of Music and Drama and was written for two players at one piano. The music uses rhythmic phasing with each rhythm assigned its own tone cluster - as each shift in rhythm occurs the harmonic structure is altered too. Melodic passages are created through the shifts in rhythm and harmony, but these only occur within the given rhythmic parameters. The music can very much be viewed as a study in momentum, with its unrelenting pulse driving us through the music.The Brass Band version of 'Clapp!!!!' was written for Manger Musikklag and Torstein Aagaard-Nilsen, receiving its premiere at the 2010 BrassWind Festival in Bergen, Norway.Duration: 3:30
Estimated dispatch 7-14 working days
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£45.00Crown Imperial, March (Brass Band - Score and Parts) - Walton, William - Littlemore, Phillip
William Walton composed his Crown Imperial for performance at the coronation of King Edward VIII, which was scheduled for the 12th May 1937. However, due to the dramatic abdication of Edward, it was in fact performed at the Coronation of the new monarch, King George VI, which took place on the same scheduled date. The march became popular immediately, and arrangements for piano solo, organ, small orchestra and military band were all published within a year. It has been used at all Royal events since, most notably the Coronation of Queen Elizabeth II in 1953. This new brass band transcription?is in keeping with the shorter, 6-minute concert version that Walton created immediately following the Coronation of George VI. However, the scoring is more in keeping with contemporary brass band voicings, and provides an exciting version for brass band.?Duration: 7:00
Estimated dispatch 7-14 working days
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£45.00March Slav (Brass Band - Score and Parts) - Littlemore, Phillip
March Slav?was composed in 1876 at the request of Nicolai Rubenstein (who had recently spurned Tchaikovsky's first piano concerto, and might have wanted to return to favour with the composer). Tchaikovsky loved Russian folk music--looking to it for inspiration throughout his career--and he makes considerable use of it here. From the opening theme to the final glorious statement of the Czarist national anthem, the march draws on the music of his motherland. It was first performed in a charity concert to support a war effort in the Balkans. He composed and fully scored the march in the short time of just 5 days. At the first performance its impact was such that it had to be encored in full, receiving a tumultuous reception - twice! Duration: 7:20
Estimated dispatch 7-14 working days
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£35.00Pavane (Brass Band - Score and Parts) - Faure, Gabriel - Littlemore, Phillip
It is believed that Gabriel Faure wrote his Pavane as a piano piece in 1887, describing it as 'elegant, but not otherwise important'. He began work on the orchestral version a few months later, and scored it for modest forces, with the intention of performing it at a series of light Summer concerts that same year. At the behest of his benefactor, Elisabeth Greffulhe, he added a four-part choir, but it is rarely heard with the chorus these days. From the outset, the Pavane enjoyed great popularity. The music flows delicately and gracefully. A pulse beats gently and constantly beneath the arching melody lines, with elegant harmonic shifts and turns before the briefest of dramatic episodes. Calm is restored and the work draws to a tranquil conclusion. Duration: 6:00
Estimated dispatch 7-14 working days
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£24.95Prelude and Capriccio (Cornet Solo with Brass Band) - Gregson, Edward
A condensed score is included with this workGregson wrote his Prelude and Capriccio in 1972. It exists in two versions: one for cornet and band and the other for cornet or trumpet and piano.The work began life in the early sixties, the Capriccio being composed when the composer was 17. A Prelude was added to complete the work, which lasts for approximately 8 minutes. The Prelude is reflective in character and uses long melodic lines over undulating chromatic harmony. The music reaches a climax before a brief reprise of the opening. The Capriccio is somewhat jazzy in its opening syncopated rhythms, but has a more lyrical middle section before a finale exploiting the virtuoso character of the instrument.
Estimated dispatch 7-14 working days
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£30.00Blue Bombazine - Terry Johns
The word Bombazine is derived from the obsolete French word Bombasin. Largely made in the Norwich area, Bombazine is a twilled fabric made of silk used mainly in dress making and popular in England in the reign of Elizabeth I. The image and feel of warm, smooth, opulent silk is aptly suited to a solo feature for tuba. Wing Commander Duncan Stubbs and the RAF Music Service commissioned Blue Bombazine for solo tuba and brass in 2014, for Senior Aircraftman Jonathan Gawn and the RAF Central Band. It was first performed at The Royal Northern College of Music in Manchester, on the 11th April 2015 at the British Festival of Wind Bands. The music is written in the jazz idiom with a testing solo part. It is available with brass band accompaniment or brass dectet. There is also a "recital" version available for tuba and piano.
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£40.00Marcos - Brian Finnegan & Niall Vallely
Brian Finnegan (born1 969) is an Irish flute and tin whistle player from Armagh, Northern Ireland. Finnegan began playing whistle at age 8 and flute at age 10 as a student of the Armagh Pipers Club under the tuition of the Vallely family. He first came to public attention with the Irish group Upstairs in a Tent.Niall Vallely (born 1970) is also an Irish musician from Armagh. In1966 his parents, Brian and Eithne Vallely founded the Armagh Piper's Club, but he chose to learn the concertina instead. His brother Cillian plays the uillean pipes and low whistle, another of his brothers, Caoimhin, plays classical piano, tin whistle and fiddle. In 1990, they formed the group Nomos, which released two albums before breaking up in 2000.
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Duet For Two Cats - G. Rossini - Len Jenkins
"Duet For Two Cats" is often performed as an encore to vocal recitals and operatic galas. It may be sung by two sopranos, male-female pairs, or even as a tomcat duet and can be accompanied by a piano or a full orchestra. The lyrics are simple; the single word 'Miaow', repeated with various styles of inflexion and attitude throughout the piece. Our arrangement is for a cornet and trombone. The piece is generally ascribed to Rossini, though there is some doubt as to its actual origins and whether it is an authentic work by that composer. It is believed that an English composer, Robert Lucas Pearsall under the pseudonym G. Berthold may have assembled the various elements from Rossini and perhaps other composers into the piece as we now know it. In order to achieve the correct balance between band and soloists, there is a need to mute most of the band instruments. Recognising that not all bands will have the larger mutes which are expensive and sometimes unwieldy, we suggest a form of muting made famous by a jazz trumpeter and which works well on most instruments. It consists of a circle of heat resistant padded table covering or felt, slightly larger than the bell diameter, with an elasticated edge like a 'mop-hat'. With 3 holes in it to let the sound out, the mute is then simply stretched over the bell to achieve the desired effect and folded up when not required.
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