Results
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£42.00Hymn at Sunrise (Score only) - Ray Steadman-Allen
The idea for this work was prompted by a poem - Hymn Before Sunrise - which describes the majesty of a mountain in darkness, the sounds of a nearby waterfall and so on. Nothing came of the exposure to these pictures except for general thoughts about the dawn of day and a series of movements expressing a personal response to the wonder of creation in an imaginary moment in time. The movement titles, which were added later, are intended to underline a prevailing sense of worship, wonder and exaltation. The music is pure, not pictoral, though listeners may conjure their own images. An actual hymn - Tallis' Cannon - is incorporated. There are five movements: 1. Thanksgiving: A short prelude in two parts. First a brief passage of 'dawn music' before things become more vigorous: fanfare-like music ushers in the trombone section's presentation of the Tallis tune. A broad band version concludes the movement. 2. De Profundis: A slow movement shot through with anxious questionings featuring flugel and trombone. The mood lightens a little in the centre where the soprano cornet is featured and the movement ends serenely. 3. Celebration is characterised by rhythmic drive, this is buoyant with plenty of incident pointed up by the percussion. 4. Invocation: Melodic in nature and sober in mood, the first section is a series of short solos mingled with chorale-like statements. Central to the movement is a chorale-prelude style presentation of the Tallis tune. The third section reintroduces the earlier solo music by the full ensemble. Dissolving, the music enters the last movement without a break. 5. Paean: Marked allegro con spirito there is, quite rightly, a fair amount of fun in the rejoicing. Snatches of Tallis are heard, then comes a gentle passage with a cornet solo leading to fanfare music and recapitulation. Two recitatives are succeeded by a coda which brings the work to a sonorous and exultant conclusion.
Estimated dispatch 7-9 working days
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£52.00Hymn at Sunrise (Parts only) - Ray Steadman-Allen
The idea for this work was prompted by a poem - Hymn Before Sunrise - which describes the majesty of a mountain in darkness, the sounds of a nearby waterfall and so on. Nothing came of the exposure to these pictures except for general thoughts about the dawn of day and a series of movements expressing a personal response to the wonder of creation in an imaginary moment in time. The movement titles, which were added later, are intended to underline a prevailing sense of worship, wonder and exaltation. The music is pure, not pictoral, though listeners may conjure their own images. An actual hymn - Tallis' Cannon - is incorporated. There are five movements: 1. Thanksgiving: A short prelude in two parts. First a brief passage of 'dawn music' before things become more vigorous: fanfare-like music ushers in the trombone section's presentation of the Tallis tune. A broad band version concludes the movement. 2. De Profundis: A slow movement shot through with anxious questionings featuring flugel and trombone. The mood lightens a little in the centre where the soprano cornet is featured and the movement ends serenely. 3. Celebration is characterised by rhythmic drive, this is buoyant with plenty of incident pointed up by the percussion. 4. Invocation: Melodic in nature and sober in mood, the first section is a series of short solos mingled with chorale-like statements. Central to the movement is a chorale-prelude style presentation of the Tallis tune. The third section reintroduces the earlier solo music by the full ensemble. Dissolving, the music enters the last movement without a break. 5. Paean: Marked allegro con spirito there is, quite rightly, a fair amount of fun in the rejoicing. Snatches of Tallis are heard, then comes a gentle passage with a cornet solo leading to fanfare music and recapitulation. Two recitatives are succeeded by a coda which brings the work to a sonorous and exultant conclusion.
Estimated dispatch 7-9 working days
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£51.00A Christmas Trifle by Andrew Duncan
A Christmas Trifle is a fantasy for brass band based on the famous English Carol, God Rest Ye Merry Gentlemen. The piece begins very lively before changing to a more jazzy style with a walking bass. This is followed by a jazz-waltz in 5/4 with solos for flugal, euphonium and soprano cornet which leads into a slow chorale section, gradually building from p to fff . This is followed by the final section which begins with a simple sleigh bell pulse over which the Tchaikovsky Christmas favourite, Trepak from the Nutcracker Suite is merged with the God Rest Ye Merry Gentlemen theme bringing A Christmas Trifle to a rousing close. To listen to a sound file of A Christmas Trifle scroll down on this page.
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£38.95Unity Series Band Journal - Numbers 538 - 541, February 2025
538: For Christ alone (Morgan Juel Stavik)This gentle and delicate march takes its title from the chorus of Fred Fry's song (S.A.S.B. 960).539: Calling Today! (Noel Jones)The words for this three-verse arrangement were written by Fanny Crosby, with music composed by George Cole Stebbins. While the song doesn't feature in the current Salvation Army Song Book, it was included in both the 1955 and 1986 editions. This arrangement was prepared during the pandemic, where people were encouraged to make contact by telephone as much as possible, and certainly welcomed phone calls from so many friends. Thinking of the calls, led to the words of this song.540: When the saints go marching in (Thomas Mack)This arrangement was written for the service celebrating the life of Irma Long at the request of her daughter. Irma, a gentle and kind woman, was a soldier for 70 years, 40 of which were at Corry Corps, Pennsylvania, USA, where she was also a songster, a pre-school Sunday School teacher, and corps treasurer. She drove the country roads from her village to Corry five times a week, even during the hard snow and ice of winters, so that she and her three daughters could attend corps activities. 541: There is sunshine (Wilfried Weiland)This work introduces a new composer to our band journals. Wilfried Weiland was the Band master at Berlin Central Corps and a member of the German Staff Band for several years. Although this is Wilfried's first published contribution with The Salvation Army, he has had several brass pieces published in the United Kingdom and abroad. The arrangement was originally written in July 2022 for the 25th anniversary of the Naumburg Corps, Germany. The reggae genre, employed here, has not been featured within our journals before but suits the style of a brass band well.
Estimated dispatch 7-14 working days
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£40.00A Song for Bram (Brass Band - Score and Parts)
A Song for Bram is a short work, originally composed piano and brass band, and is dedicated to the memory of Bramwell Tovey, a close friend and colleague of the composer, and a conductor, composer, pianist and musician of huge talent, who sadly passed away before his time in the summer of 2022. In this short piece the composer has tried to imagine what kind of tune Bram would have improvised at the piano, something he frequently engaged in. No doubt it would have been a mixture of bluesy jazz, hymn tune, and love song, and this is how the solo piano takes off. In the middle section of a what is a simple tertiary structure, introduced are quotes from two hymn tunes Bram particularly loved, never having forgotten his Salvation Army roots. Bram's 'Song' returns, this time on a plaintive flugelhorn horn, and which reaches a climax with the full band before receding, literally, into the distance.....(to a new life beyond?).Duration: 6.00
Estimated dispatch 7-14 working days
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£45.00A Song for Bram (Piano Solo with Brass Band - Score and Parts)
A Song for Bram is a short work, originally composed piano and brass band, and is dedicated to the memory of Bramwell Tovey, a close friend and colleague of the composer, and a conductor, composer, pianist and musician of huge talent, who sadly passed away before his time in the summer of 2022. In this short piece the composer has tried to imagine what kind of tune Bram would have improvised at the piano, something he frequently engaged in. No doubt it would have been a mixture of bluesy jazz, hymn tune, and love song, and this is how the solo piano takes off. In the middle section of a what is a simple tertiary structure, introduced are quotes from two hymn tunes Bram particularly loved, never having forgotten his Salvation Army roots. Bram's 'Song' returns, this time on a plaintive flugelhorn horn, and which reaches a climax with the full band before receding, literally, into the distance.....(to a new life beyond?).Duration: 6.00
Estimated dispatch 7-14 working days
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£44.95Judd: Turris Fortissima
The geographical position of Plymouth (the composer's home city) means that, at various times in history, the city has been the United Kingdom's first line of defence. A series of forts around the coast bears testimony to this and forts have featured on the city's coat of arms ever since. However, the city's forefathers believed that physical security was worthless without a faith in God's protection and this is reflected in the city motto; Turris fortissima est nomen Jehovah (The name of Jehovah is our strongest tower) (Proverbs 18:10). Written for Enfield Citadel Band's tour of the USA in 2007, the music attempts to portray this assurance with the use of the tune Ein' Fest Burg (A mighty fortress is our God) along with the more contemporary Blessed be the Name of the Lord and Shout to the Lord. There is also an apt reference to Dean Goffin's My Strength, My Tower as the music builds to its dramatic final bars.
Estimated dispatch 7-14 working days
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£89.44Euphonium Concerto with Brass Band (Karl Whelan)
VIEW SCORE PDF Karl Whelan's Euphonium Concerto with Brass Band is written in three linked movements: I: Prelude II: Aria III: Scherzo The first movement, Prelude, is in a mirror image sonata form and with its menacing ostinato sets the tone for the entire concerto and also introduces material on which the concerto is based. During this movement, the soloist has the opportunity to display their technical ability as well as the extremes of the instruments range. A chord based on the notes of the ostinato signal the beginning of the second movement, Aria. Here, material from the first movement has been weaved together and moves through a multitude of keys, the soloist is able to show the expressive side of the instrument to create an almost yearning, operatic aria. A reiteration of the 1st subject takes us into an almost march like figure at the beginning of the third movement, Scherzo. This is then interrupted both times by dance-like scherzo which, as with the rest of the concerto navigates itself through different keys leading to the cadenza that even the temple blocks have the the chance of participating in! The concerto concludes with almost a battle between the band (playing fragments of the first and second subjects from the first movement), and soloist who is attempting to have the last word! To view a follow-the-score video of the work please visit: www.youtube.com/watch?v=aEnou67XHqA Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Instrumentation: Euphonium Soloist Bb Soprano Cornet Eb Solo 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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£30.00Amazing Grace (W. Walker arr. by Paul Pennicotte-Henrie) - Brass Band Sheet Music Full Score and Parts - LM642
COMPOSER: W. WalkerARRANGER: Paul Pennicotte-Henrie"Amazing Grace" is a Christian hymn published in 1779 by English Anglican clergyman, abolitionist, and poet John Newton. It is possibly the most sung and most recorded hymn in the world and is especially popular in the United States, where it is used for both religious and secular purposes. Newton wrote the words from personal experience; he grew up without any particular religious conviction, but his life's path was formed by a variety of twists and coincidences that were often put into motion by others' reactions to what they took as his recalcitrant insubordination. He was pressed into service with the Royal Navy, and after leaving the service, he became involved in the Atlantic slave trade.In 1748, a violent storm battered his vessel off the coast of County Donegal, Ireland, so severely that he called out to God for mercy. While this moment marked his spiritual conversion, he continued slave trading until 1754 or 1755, when he ended his seafaring altogether. Newton began studying Christian theology and later became an abolitionist.Ordained in the Church of England in 1764, Newton became the curate of Olney, Buckinghamshire, where he began to write hymns with poet William Cowper. "Amazing Grace" was written to illustrate a sermon on New Year's Day of 1773. It is unknown if there was any music accompanying the verses; it may have been chanted by the congregation. It debuted in print in 1779 in Newton's and Cowper's Olney Hymns, but settled into relative obscurity in England. In the United States, "Amazing Grace" became a popular song used by Baptist and Methodist preachers as part of their evangelizing, especially in the American South, during the Second Great Awakening of the early 19th century. It has been associated with more than 20 melodies. In 1835, American composer William Walker set it to the tune known as "New Britain" in a shape note format; this is the version most frequently sung today.
In Stock: Estimated dispatch 3-5 working days
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£64.95Music for Greenwich (Brass Band - Score and Parts) - Gregson, Edward
Music for Greenwich was commissioned in 1980 by the Greenwich Theatre, London, for a new production of Peter Buckman's play 'All Together Now'.In this play, about a down-at-heels brass band in the North of England brought to a new level of self-confidence and achievement by an incoming conductor, the whole cast performed a test piece on stage every night (i.e. Music for Greenwich), in readiness for a competition which they have entered and, of course, win. Although the play is as much a social commentary as anything to do with music-making, every member of the cast had to be able to play a brass instrument to a greater or lesser extent (a difficult challenge for the casting Director!).For obvious reasons, the music is not technically difficult. The work is structured as follows: a brief fanfare-like opening is followed by an allegro section, rhythmic and playful; a slow lyrical section is then introduced (a suitably nostalgic melody featuring solos for cornet and trombone), before a return to the fast music, a hint of the fanfare, and finally a climactic flourish to round things off. This is music to be enjoyed, as hopefully it was every night by the audience and actors alike.Duration: 5.00
Estimated dispatch 7-14 working days
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