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  • £128.00

    Contrasts (Trombone Solo with Brass Band - Score and Parts) - Van der Roost, Jan

    Contrasts was written for, and dedicated to, trombone soloist Dr. Brett Baker. As the titles indicates, contrasting elements characterize this challenging piece. The slow movement Sounds has a somewhat dark and sombre atmosphere, with complex harmonies and special sound effects. However, the second movement, Caprice, is energetic, entertaining, virtuosic and somewhat whimsical - quite a contrast indeed with the first! Duration: 16.30

    Estimated delivery 12-14 days

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  • £70.00 £70.00
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    Bass Trombone Concerto

    Written in 2006 for Roger Argente, Gareth Wood brings his considerable experience of writing for brass, and brass bands in particular, to an instrument not often blessed with opportunities for solo exposure. It is scored for soloist accompanied by traditional brass band line-up, including timpani and two percussion, and follows the standard three-movement pattern. In the first movement, the soloist launches straight into the musical argument with a low-lying repeated quaver figure punctuated by the band. A lyrical second subject in the high register is also entrusted to the soloist, and the movement comes to a thrilling conclusion. The slow movement opens softly with the percussion, and a mournful bass line sets the mood for a thoughtful long melody. It reaches a powerful climax, which subsides to a return of the opening mood. In the march-like finale, the soloist is pitted against a number of solo instruments from the band and a driving ostinato carries the momentum through to the blazing ending.Duration: 13:00 minutesPercussion: 3 Players playing timpani, bongos, bass drum, side drum, suspended cymbal, tam-tam, claves, triangle, tambourine, xylophone and glockenspielGrade 4: Moderately Difficult 1st Section Bands

  • £34.95

    CONCERT PIECE (Morceau Symphonique) (Trombone Solo with Brass Band Set) - Guilmant - Ray Steadman-Allen

    Guilmant was an organist of the Church of Trinity, Paris and was also a staff member at the Paris Conservatoire. Concert Piece (also known as Morceau Symphonique) consists of a slow prelude followed by a quicker, more brilliant section, the two linked by a cadenza. A lyrical element persists in the second section and there is a brief return to the theme of the prelude following which the music is brought to a fiery and exciting conclusion.

    Estimated delivery 12-14 days
  • £34.95

    Concert Piece (Morceau Symphonique) (Trombone Solo with Brass Band - Score and Parts) - Guilmant, Alexandre - Steadman-Allen, Ray

    Guilmant was an organist of the Church of Trinity, Paris and was also a staff member at the Paris Conservatoire. Concert Piece (also known as Morceau Symphonique) consists of a slow prelude followed by a quicker, more brilliant section, the two linked by a cadenza. A lyrical element persists in the second section and there is a brief return to the theme of the prelude following which the music is brought to a fiery and exciting conclusion.

    Estimated delivery 12-14 days
  • £17.50

    Concert Piece (Morceau Symphonique) (Trombone Solo with Brass Band - Score only) - Guilmant, Alexandre - Steadman-Allen, Ray

    Guilmant was an organist of the Church of Trinity, Paris and was also a staff member at the Paris Conservatoire. Concert Piece (also known as Morceau Symphonique) consists of a slow prelude followed by a quicker, more brilliant section, the two linked by a cadenza. A lyrical element persists in the second section and there is a brief return to the theme of the prelude following which the music is brought to a fiery and exciting conclusion.

    Estimated delivery 12-14 days
  • £74.95

    Eden - John Pickard

    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, fl?gel-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 delivery 12-14 days
  • £74.95

    Eden - Score & Parts - John Pickard

    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, fl?gel-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 delivery 12-14 days
  • £38.00

    Hymn 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 delivery 5-7 days
  • £48.00

    Hymn 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 delivery 5-7 days
  • £48.00

    Fantasie Concertante (Score only) - Philip Wilby

    This exciting new concerto is a welcome addition to the repertoire of french and tenor horn players alike. Like the 18th-Century Serenade form there are five movements, arranged symmetrically around a slow movement - Soliloquy - which separates movements entitled Burlesque (two) and Valse Caprice (three) respectively. The first and last movements share common material of a more symphonic stature, and the concerto ends with a brisk fugato. The solo horn is (in the band version) accompanied by a quintet of solo players (two cornets, euphonium, trombone, and tuba) who provide the lion's share of the counterpoint and contrast with the main body of musicians who provide musical punctuation in the more sonorous tutti sections. The first movement, Don Quixote's Dream, contains references to Cervantes' famous hero, the Spanish nature of his stories, and the ambling gait of his horseback adventures.

    Estimated delivery 5-7 days