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£159.99Omaggio - Philip Sparke
Omaggio was commissioned by Steven Mead in celebration of his 60th birthday and in memory of his father, Rex. He gave the premiere of the brass band version in Rome in March 2022, accompanied by the Italian Brass Band conducted by Filippo Cangiamilla. The concert band premiere took place on 6th July that year as part of the 2022 Spanish International Tuba Euphonium Conference, accompanied by the Banda municipal de musica de Malaga. The concerto is set in 3 continuous movements, which are united by a recurring syncopated interval of a fifth. The first movement, FANTASIA, opens with this motive accompanying an extended monologue for the soloist. This is followed by a lengthy bridge passage by the band (piano), which is eventually joined by the soloist, who guides the music back to the opening soliloquy, leading to an energetic central section. This develops until the opening material again returns to introduce the second movement, BALLAD, which revolves around an expressive melody for the soloist, interspersed by accompanied cadenzas. The third movement, THE KING TRIUMPHANT, pays homage to Steven's late father, Rex, and its title alludes both to Rex's name ('Rex' being Latin for 'king') as well as his love of Eric Ball's Salvationist masterpiece, The Kingdom Triumphant. The finale is an energetic tour-de-force featuring an acrobatic 6/8 melody, which is interrupted twice by the magnificent hymn tune, Helmsley, which Ball uses so effectively in The Kingdom Triumphant. A galloping coda brings the work to a close.
Estimated dispatch 5-14 working days
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£154.60Circius - Torstein Aagaard-Nilsen
The work is important for me because it was my first piece to be performed outside Norway. Black Dyke Band/David King performed it and did a recording of it in 1991. In the original score I quote a Swedish bishop (Olaus Mangnus) who lived in the 15th century. He travelled around Scandinavia and drew maps - very important historic material. When he came to the north of Norway (where I come from) he decribed the wind from the north as Ciricus: (something like) Worst of all winds is Circius, that revolves (?= turn upside down) heaven and earth. (Well, not a good translation Im afraid). The fast sections reflects the mighty winds from the north. In the middle section, I borrowed afolksong-like tune (by C. Elling, a Norwegian composer). The text (by Kristoffer Janson) tells about old times when the fishermen used open boats: they had to put their lives in the hands of God.
Estimated dispatch 5-14 working days
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£84.99Festivus Americas - Stephen Bulla
Dedicated to the North American Brass Band Association, this is music that is full of energy and dynamic extremes. In form it draws from the overture style, although the themes are self-existing and the piece is programmatic. Working well asa festival opener, it sets a mood of excitement. Following the rhythmic fanfares of the opening, the first theme is presented in the cornets followed by a return to the same rhythmic material. A second theme appears in the horn section and isdeveloped, changing into a darker and sinister form of the same motif. Eventually a Maestoso section is reached, full of sustained block chords in the cornets and trombones, as the rest of the band counters with cascading lines that weavestraight through the brighter instruments.
Estimated dispatch 5-14 working days
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£76.99
Durkle Bandrydge Suite - Bruce Fraser
Durkle Bandrydge is the name of the composers imaginary world, but it could very well be anyones invisible dream world with a different name. In this very versatile suite by Bruce Fraser, 8 characters are featured, each with its ownpeculiarities, making Durkle Bandrydge such a colourful place. Do these characters differ that much from us? That is for you to find out! In the last part, all characters come together in a special way.Durkle Bandrydge exists at the end ofyour street. It is invisible to humans, but Durkle Bandrygators can watch us with great interest. The music will introduce you to some of the characters who live in this unusual place. The parts: Somnanbulyss, who is a giant trollguarding the entrance to Durkle Bandryde. At least, he is supposed to, but he tends to sleep most of the time. His music is therefore very slow moving and sleepy. Long Gwysteen is a tall, mysterious, and somehow sophisticated character,who walls around with a shell on his back. His music glides along rather gracefully. Squelfitch is a rather unpleasant and smelly character who lives in a bog, which is why his music sounds rather slimy and a bit like trying to walkthrough quicksand. Perfydlia is a meddling old woman, who gossips about everybody and squeals with sudden delight at the small exciting bits of tittletattle about others in the village. In the music you can hear her sudden little squealsof delight. Maryann Lovely is a beautiful young lady, graceful, gorgeous, absolutely devine, and her music is obviously just the same. Thistledoo Nicely is a lively character who spends and spends and spends with her credit card,buying the latest fashion and never worries about having to pay the bills. Her music reflects her excitement when shopping and het 'happy go lucky' approach to life. Marsyn Edginton is the Lord of the manor, the richest man in town, the'big cheese', the man with all the power and, of course, the biggest house. He is very grand and his music like he could be a king. Jimmy McScotsmyn is a red haired scotsman wearing tartan cap. He misses his home country terribly and eatslots of shortbread, oatcakes, scotch eggs, porridge and drinks an enormous amount of Scotch Wisky, which helps him to have fond memories of the kind of music he would like to dance to when he was a younger man. His favourite dance is a Jig andthis is the music he remembers. Grand March of the Durkle Bandrydgators. We hope that you have enjoyed meeting these characters from Drukle Bandrydge and would invite you to listen to all the villagers now march along in a grand parade -it is a pity that you can not see them, what is a wonderful sight. If you listen carefully, you will hear the melodies which belong to the characters as they march past. Oh what a grand spectacle!
Estimated dispatch 5-14 working days
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£76.99Animal Kingdom - William Vean
In this composition William Vean takes you on a journey through the fascinating and exciting world of animals. Apart from it being a composition filled with "special effects", Animal Kingdom contains many educational elements, such as playing inswing (triplets feeling), chromatics, flutter tonguing, gypsy tuning, varying keys, and, of course, dynamics and articulation. The melodic lines occur in all four voices, as well as in all percussion parts, providing each musician with theopportunity to play a solo or to accompany. Highly recommended for your youth band! William Vean is an educational composer. He knows how to musically shape the special elements from our daily lives. His music is therefore veryexpressive, containing creative solutions to possible problems. Special ways of playing make his music particularly interesting for the winds, but the percussion section is also featured in his special effects. The world of the animalsalways plays on ones imagination. In Animal Kingdom, William Vean has portrayed a number of animals in a special manner: Kevin Kangaroo - The jumping character of this animal can be heard in different voices. The swing style alsoemphasizes the characteristic movements of the kangaroo. Playing in swing style can be practised by using scales. Eddy Elephant - For some of his smaller fellow fauna friends this can be quite an ordeal, but for Eduard (Eddy for friendsand intimates) it is his daily walk. Baldrick Bat - Baldrick the Bat is a mysterious character. This can be heard in the fast moving valves and keys, accompanied by special effects in the percussion section. Curtis Camel - Curtisthe Camel trudges across the desert, feeling bored. The idea that the horizon will never change does not affect him anymore. He has accepted his fate. The distinctive tones from the gypsy scale provide the suitable oriental sounds. BettyButterfly - Butterfly Betty elegantly, and without worries, flutters from flower to flower in the garden. Her motto: Carpe Diem (Seize the Day). Betty is a one-day butterfly. Marvin Monkey - A "swing" monkey stirs up the feelings. Evenmembers of the orchestra will look like real monkeys. How about your audience? Each part has its own difficulties and challenges. Important in the first part is playing "in swing" (triplets feeling). This can be practised usingscales. In the second part ensemble playing and balance are important. In Baldrick additional information on the effects that have to be played might be useful. "New" sounds are, of course, welcome. Curtis the Camel introduces thegypsy scale. Additional explanation of the use of the scale might be useful. Key changes are interesting in this part. A slight accent on the first beat of the bar will add to the charm of this part. Marvin the Monkey brings back the swingrhythm that was introduced in the first part, alternated by a "straight" part with attention to chromatics and articulation. A story teller will definitely be an asset when performing this composition.
Estimated dispatch 5-14 working days
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£54.99Christmas Colours - Bruce Fraser
'Christmas Colours' is a palette consisting of several Christmas songs. Bruce Fraser has mainly used the colours green (the colour of holly) and white (the colour of snow). This composition begins with the chiming of festive bells - if you listen well, however, you can already hear short fragments from 'The Holly and the Ivy', whose entire melody is finally played, alternated with 'The Sussex Carol'. After this, the pace slows down and the stately 'See amid the Winter Snow' sounds, but parts from 'Jingle Bells' and 'Silent Night' can also be heard. Then, after walking under 'The Holly and the Ivy' once again, the celebration of Christmas may begin!
Estimated dispatch 5-14 working days
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£76.99Variations on Shalom Chaverim - Andreas Ludwig Schulte
Shalom Chaverim is an ancient Hebrew (farewell)song, which was originally sung at the end of a celebration or meeting. It was and is mostly sung as a round. Freely translated the words mean "Goodbye, friends, goodbye and see you again!". The varying moods at a parting have been captured very well by Andreas Schulte in his arrangement 'Variations on Shalom Chaverim'. The composer himself says about the song, 'Although the melody is in a minor key, the overall atmosphere in the song is positive. one wishes each other all the best. Saying goodbye, however, also hurts. When you slow down the pace of the melody and add 'blue notes' in the harmonies, this can be sensed immediately.'Schulte refers here to the first variation. The second variation is very intense with possibly even deeper-felt emotions. 'Variations on Shalom Chaverim' ends on a cheerful and positive note, in fast tempo, and with oriental elements in the melody: 'L'hitra'ot, Shalom' (See you again, and farewell!).
Estimated dispatch 5-14 working days
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£54.99Sumba Samba - Ron Gilmore
The Samba is a Latin American dance, which is mostly associated with parties, as a result of the fast tempo in which it is usually played. 'Sumba Samba' forms an exception to this rule. In order to get this samba to swing it is important to stick to the tempo prescribed. 'Sumba Samba' starts with a motif which will play an important role throughout the piece. This motif can be heard in the first notes of the 'refrain' and, as said before, has been used in the introduction, as well as in the transition after the middle part (letter G). Furthermore, it plays an important role in the middle part itself (letter E), in which the samba has momentarily disappeared and acompletely different atmosphere has been created. At letter H we pick up where we left off with the samba and swing to the end of this composition.
Estimated dispatch 5-14 working days
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£80.00St. Magnus - Kenneth Downie
Dedicated to Alastair Massey, an inspirational music teacher. Commissioned by the Scottish Brass Band Association for the 2004 European Brass Band Championships in Glasgow. This music is a set of variations on the tune known as St Magnus, which is attributed to Jeremiah Clarke. Most people will associate it with Thomas Kelly's hymn which begins: "The Head that once was crowned with thorns is crowned with glory now". The tune is very simple, consisting of just two, four-bar phrases. Neither is there much in the way of rhythmic variety, every note being a crotchet with the exception of two quavers, and the last note in each phrase. Within such a simple structure, however, lies considerable strength. THEME The listener is given the opportunity of hearing it twice, in full, at the beginning, starting with one player but soon taken up by the full ensemble. It returns in the middle of the music and is stated again near the end. This has been done quite deliberately in the hope that there will be an appreciation of what material is being developed, by the listener as well as by those with access to the score, who are able to see the visual connections. VARIATION 1 This takes the rhythm of the last part of the theme and also uses the shape of the opening as a recurring figure. The mood is whimsical and skittish, with short, teasing rhythmic figures tossed around the band, and quick interplay with percussion, at a fast tempo. An energetic flourish finishes this variation before the Andante espress. VARIATION 2 This commences with chords related to the opening of Variation 1. The cantabile on solo comets establishes a new, lyrical mood and there is scope for expressive playing in a series of short solo passages. The theme works its way unobtrusively into the texture before a reprise of the solo cornet melody and some more lyrical interchanges between Eb bass, euphonium, flugel horn and comets. The variation ends serenely with clear references to the last phrase of the theme. VARIATION 3 The first idea to dominate is clearly linked to the shape of the theme's first phrase. There is a frenetic feel to much of this variation, with considerable energy and instability created by extensive use of cross-rhythms. A thinning-out of the score marks a clear change to development of the start of the second phrase of the theme. This proves to be short-lived however, and the opening material returns leading to a restatement of the theme, "Maestoso," after which a euphonium cadenza links to Variation 4. VARIATION 4 Here we have some solos for euphonium, cornet, trombone and Eb bass set against a background of horns and baritones presenting a pensive statement of the theme's opening. VARIATION 5 This commences Allegro, with lively work for cornet and euphonium spreading to the whole band before attention focuses on the beginning of the second phrase of the theme which is initially presented in diminution, then in regular rhythm, then in inversion. An increase in tempo coupled with a decrease in volume, requires dexterity and control, with several metrical challenges thrown in for good measure. The same fragment of phrase becomes an ostinato which generates a frenzied climax, punctuated by short, dramatic silence, before the opening figure returns and the music gradually winds down. The tubular bells herald the final return of the theme, in augmentation, marking the start of the Finale. FINALE This features the running semiquavers of the previous variation sounding in counterpoint. A fast, furious coda speeds the work to a conclusion while references to the opening of the theme are still trying to break into the texture of the music. Kenneth Downie
Estimated dispatch 5-14 working days
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£94.99Dublin Pictures - Marc Jeanbourquin
Ireland is a multi-faceted country that has developed a popular and distinctive musical culture. The first movement of Dublin Pictures reflects Irish festivals where there is dancing and traditional beer flowing.More tranquil in its feel, the second movement illustrates the landscape that can be seen from the Ha'penny Bridge, a bridge that crosses the River Liffey in Dublin. This movement highlights the wide range of the orchestra's sound colours as the musicians' voices combine with the wind and percussion to accompany the soloist. The lively and joyful rhythms of the last movement take the listener to Temple Bar, the famoustourist quarter of the city, well known for its vibrant nightlife.The music's energy and virtuosic motifs are in contrast to the previous movement and provide a spirited and festive finale.Marc Jeanbourquin wrote this piece in three movements for Azimuts Brass in 2011. He then arranged it for Concert, Fanfare or Brass Band.
Estimated dispatch 5-14 working days
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