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£37.50Brass Monkey's Jazz Workout
This huge release brings together a selection of music composed by Paul H Traves that introduces your learners to the different style of Jazz that is available. Naturally, the rhythmic work required to play such styles means that this publication will push your learners on and will challenge them at a new level. Syncopation and swing are at the heart of the music in this collection and it is the perfect way to get your learners playing in new styles not always covered by training band music. This title offers excellent value for money with seven titles included. This publication features:SNAKES & LADDERS - (teaching dynamics and expressive playing)CHROMATICS - (As the title suggest, ensuring every valve us used!)ROCKIN' GERONIMO - (featuring triplets and accidentals)TRUMPET DRIFT - (introducing crotchet triplets & syncopation)J.B.'s 12 BAR BLUES - (a well-known style that feature sharp key signatures)J.B.'s CALYPSO (unison playing and tight rhythmic playing required)ZIG-ZAG (getting players into a lazy swing style)
Estimated dispatch 7-14 working days
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£69.99South Down Pictures (Brass Band - Score and Parts) - Sparke, Philip
South Down Pictures was commissioned by Millenium Brass 2000, an organisation comprising three brass bands from the county of Sussex, England.The bands (Patcham Silver, Hangleton and Brighton Silver) had got together to organise many events to mark the new millennium and these culminated in a concert in Hove Town Hall on July 9th 2000 when all three bands combined to give the first performance of South Down Pictures. The composer spent much of his childhood amongst the South Downs, a range of hills in Sussex which runs parallel to the sea.Opening with a strong unison passage, interrupted briefly by faster figures based on the interval of a fifth, South Down Pictures develops with an often-passionate legato melody. Reaching a climax, this is then followed by the main vivo section of the work, whose main theme is based on the earlier 'fifth' figures. A bridge passage leads to a short chorale figure and a rhythmic climax which dissolves into a plaintive cornet solo over staccato chords. This theme is taken up by the whole band and leads back to a recapitulation of the main theme and earlier material. The cornet tune returns triumphantly in the major key before the opening unison passage reappears to provide a stirring coda.Duration: 5:30
Estimated dispatch 7-14 working days
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£88.00Fanfares, Marches, Hymns and Finale (Brass Band - Score and Parts) - Broughton, Bruce
"Fanfares, Marches, Hymns and Finale" is a series of self-referential movements, each composed around an attitude expressed in the title rather than for any actual utilitarian use. Hence, it would be difficult to march to most of "Marches", although it is composed of martial rhythms and associative figures. One could, however, sing the pentatonic (five note) main theme from "Hymns", which is composed in an American folk-hymn style and set in an Atmosphere evocative of meditation and reflection, although there is no text associated with the themes. "Fanfares" is based upon an opening six-note motif first heard in unison. It precedes and announces the following three movements. As the plural aspect of the title indicates, "fanfares" open and close the movement itself. Needless to say, the spirited "Finale" brings the piece to a close. Duration: 11.00. Suitable for Championship Section Bands.
Estimated dispatch 7-14 working days
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£35.00I Vow to Thee, My Country (Brass Band - Score and Parts) - Holst, Gustav - Littlemore, Phillip
!!I Vow to Thee My Country. Originally for unison voices with orchestra, Holst adapted it as a hymn tune and called it Thaxted , named after the village where he lived for many years. Because of the sentiment in the words it has now become a staple of Remembrance services.The American Composer, Geoff Knorr, incorporated Holst's music into his score for the strategy-based video game Civilisation, where it is used to depict the England of Elizabeth I. It is from this music that the transcription is made. Duration: 5.40
Estimated dispatch 7-14 working days
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£79.95Introduction, Elegy and Caprice (Brass Band - Score and Parts) - Calvert, Morley
This work was written by Morley Calvert, the Canadian composer, especially for the first European Brass Band Championships held in 1978.The piece consists of three contrasting movements. The Introduction opens with a slow, mysterious figure after the first fanfare-like unison notes. This leads to the main section, a quick 'one-in-a-bar' movement centred around a persistent figure.The Elegy opens with an unaccompanied Euphonium solo, which is then passed through to horn, cornet, and basses in the manner of a passacaglia. This is broken and then the movement fragments.After the tension of the Elegy, the Caprice provides much needed relief: a spritely dance, very rhythmical in character, the theme of which is thrown around the band with great abandon.
Estimated dispatch 7-14 working days
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£39.95
Introduction, Elegy and Caprice (Brass Band - Score only) - Calvert, Morley
This work was written by Morley Calvert, the Canadian composer, especially for the first European Brass Band Championships held in 1978.The piece consists of three contrasting movements. The Introduction opens with a slow, mysterious figure after the first fanfare-like unison notes. This leads to the main section, a quick 'one-in-a-bar' movement centred around a persistent figure.The Elegy opens with an unaccompanied Euphonium solo, which is then passed through to horn, cornet, and basses in the manner of a passacaglia. This is broken and then the movement fragments.After the tension of the Elegy, the Caprice provides much needed relief: a spritely dance, very rhythmical in character, the theme of which is thrown around the band with great abandon.
Estimated dispatch 7-14 working days
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£59.95Essay (Brass Band - Score and Parts) - Gregson, Edward
This work was specially commissioned as the test piece for a new brass band competition in 1971, held at the Royal Albert Hall, London. It is in three movements, the titles of which all have literary connotations. The first movement, Dialogue takes the form of 'conversations' between the instruments, based on the opening melody announced in unison on cornets and euphoniums. A second theme is introduced on the flugel horn and developed alongside this, creating a sonata form shell.The second movement, Soliloquy is dedicated to the memory of Gilbert Vinter - a composer who did so much in the 1960s to bring the brass band into the modern world. The movement is poignant in mood, which is depicted by a cornet solo announced after a brief introduction. The middle section builds to a powerful climax, at which point the opening theme of the first movement is heard again. Tranquillity returns however, with a solo trombone now playing the original theme with other instruments adding decorative accompanying patterns.The final movement, Epigram, creates strong rhythmic contrasts and exploits the more virtuoso character of the brass band. The middle section, with its changing time patterns and open expansive melody, suggests a 'big-country' style. A rhythmically charged coda concludes the work in exciting fashion.Duration: 12.00
Estimated dispatch 7-14 working days
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£29.95
Essay (Brass Band - Score only) - Gregson, Edward
This work was specially commissioned as the test piece for a new brass band competition in 1971, held at the Royal Albert Hall, London. It is in three movements, the titles of which all have literary connotations. The first movement, Dialogue takes the form of 'conversations' between the instruments, based on the opening melody announced in unison on cornets and euphoniums. A second theme is introduced on the flugel horn and developed alongside this, creating a sonata form shell.The second movement, Soliloquy is dedicated to the memory of Gilbert Vinter - a composer who did so much in the 1960s to bring the brass band into the modern world. The movement is poignant in mood, which is depicted by a cornet solo announced after a brief introduction. The middle section builds to a powerful climax, at which point the opening theme of the first movement is heard again. Tranquillity returns however, with a solo trombone now playing the original theme with other instruments adding decorative accompanying patterns.The final movement, Epigram, creates strong rhythmic contrasts and exploits the more virtuoso character of the brass band. The middle section, with its changing time patterns and open expansive melody, suggests a 'big-country' style. A rhythmically charged coda concludes the work in exciting fashion.Duration: 12.00
Estimated dispatch 7-14 working days
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£37.95Benvenuto Cellini (Brass Band - Score only) - Berlioz, Hector - Wright, Frank
Berlioz's opera Benvenuto Cellini was first produced in Paris in 1838 but was withdrawn as a failure, and it was not until the production in Dresden in 1888 that it was finally acclaimed by the Germans as a triumph. Adapted from certain episodes recorded in the memoirs of Benvenuto Cellini, Tuscan sculptor and goldsmith, the story, laid in Rome during the mid-sixteenth century, is not strictly historical. The short opening Allegro, marked deciso con impeto, is conceived in the most brilliant Berlioz manner, utilising full instrumentation. In the Larghetto we meet at once the first of the opera themes - the Cardinal's aria (from the last act) introduced in the bass, quasi pizzicato. A second melody leads to a resumption of the Allegro, the contrasting second subject in the tenor horns being an adaptation of Teresa's aria (Act I). Towards the end the Cardinal theme is re-introduced by trombones, fortissimo against an energetic cornet and euphonium passage (senza stringendo - without hurry, says the score). After a unison passage storming skywards, there is a sudden, dramatic three-bar silent pause broken by Eb basses alone, again stating the Cardinal theme. A simple molto crescendo on the dominant, begun piano, leads to the long, resounding chord.
Estimated dispatch 7-14 working days
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£82.95Benvenuto Cellini (Brass Band - Score and Parts) - Berlioz, Hector - Wright, Frank
Berlioz's opera Benvenuto Cellini was first produced in Paris in 1838 but was withdrawn as a failure, and it was not until the production in Dresden in 1888 that it was finally acclaimed by the Germans as a triumph. Adapted from certain episodes recorded in the memoirs of Benvenuto Cellini, Tuscan sculptor and goldsmith, the story, laid in Rome during the mid-sixteenth century, is not strictly historical. The short opening Allegro, marked deciso con impeto, is conceived in the most brilliant Berlioz manner, utilising full instrumentation. In the Larghetto we meet at once the first of the opera themes - the Cardinal's aria (from the last act) introduced in the bass, quasi pizzicato. A second melody leads to a resumption of the Allegro, the contrasting second subject in the tenor horns being an adaptation of Teresa's aria (Act I). Towards the end the Cardinal theme is re-introduced by trombones, fortissimo against an energetic cornet and euphonium passage (senza stringendo - without hurry, says the score). After a unison passage storming skywards, there is a sudden, dramatic three-bar silent pause broken by Eb basses alone, again stating the Cardinal theme. A simple molto crescendo on the dominant, begun piano, leads to the long, resounding chord.
Estimated dispatch 7-14 working days
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