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  • £72.90

    What Now My Love - Gilbert Becaud - Ray Farr

    What Now, My Love was written in 1961 by composer Gilbert Becaud and lyricist Pierre Delanoe with the original title Et Maintenant.Very many top, internationally renowned artists have recorded this song including Elvis Presley, Frank Sinatra and Shirley Bassey.Ray Farr has set the emotional song to the ostinato of Ravel's Bolero, and features several soloists from within the band.

    Estimated delivery 10-14 days
  • £109.00

    What Now My Love - BECAUD, Gilbert (Arr.: Hardy Schneiders)

    Et Maintenant

    Estimated delivery 10-14 days

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  • £40.00

    What Sweeter Music - John Rutter - Douglas Yeo

    John Rutter, master of melody, is now available for your brass band. This beautiful carol tells the story of Christmas night and breathes the atmosphere of this joyous time. This arrangement does great justice to the original.

    Estimated delivery 10-14 days

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  • £45.99

    Et Maintenant - Gilbert Becaud - Steve Cortland

    What Now My Love

    Estimated delivery 5-7 days

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  • £25.50

    Wicked (Selections From) - Stephen Schwartz - Gavin Somerset

    Since 2003, this smash hit musical telling the untold stories of the witched of Oz, has been entertaining audiences across the globe. The show has achieved worldwide success and broken box office records for weekly-gross-takings in New York, Los Angeles, Chicago, St. Louis, and London as well as holding the record for the biggest opening in the West End (?100,000 in its first hour on sale!) The music by Stephen Schwartz is a hit amongst audiences of all ages. Now, for the first time, the music is available for Brass Band in an arrangement personally approved by the composer. The arrangement by Gavin Somerset includes the well-known items "What Is The Feeling", "Dancing Through Life", "Popular" and the dazzling "Defying Gravity", of which "Defying Gravity" can be played as a stand-alone item, perfect for entertainments contests & encores etc. This is a feast of music, bringing variety to your concerts and a must for every bands library.

    In stock: Estimated delivery 1-2 days

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  • £98.00

    KirkFeld (Trombone Solo with Brass Band - Score and Parts) - Kirkhope, Grant - McKenzie, Jock

    Written for Ian Bousfield and the International Trombone Festival 2017. Grant Kirkhope is a BAFTA nominated British composer who has created the soundtrack for video games that have sold in excess of 30 million copies. From "GoldenEye" to "Banjo-Kazooie", "Viva Pinata" to "Donkey Kong", "Kingdoms of Amalur: Reckoning" to "Civilization: Beyond Earth" and "Perfect Dark" to "Castle of Illusion starring Mickey Mouse". He has also recently scored the feature film "The King's Daughter" starring Pierce Brosnan and William Hurt and is currently working on "Yooka Laylee" and "Dropzone". Grant's score for "Viva Pinata" was nominated by BAFTA in the Original Score category in its 2007 awards. Grant is represented by the prestigious Gorfaine/Schwartz Agency by Cheryl Tiano and Kevin Korn. Grant has a degree in music from the Royal Northern College of Music, Manchester, where he majored in classical trumpet, is a green card holder and now lives in Agoura Hills, LA with his wife and two children. "Ian and I first met when we were around 15 years old. We both played in our county orchestra, the North Yorkshire Schools Symphony Orchestra (I was a trumpet player). I think we hit it off straight away, as we were definitely a couple of cheeky kids, if you know what I mean! We both ended up playing in Rowntree Mackintosh Brass Band for a while too which Ian's Dad, Trevor conducted. We bumped into each other again when we both went for the Shell/LSO Scholarship. I got to the area finals in Manchester so I was pretty pleased with myself but then I saw Ian and I knew it was all over! Of course Ian went on to win and the rest is history. I saw him again when I was attending the Royal Northern College of Music around 1983 by which time Ian had just got the principal chair at the Halle Orchestra. Then I guess 30 something years went by as we both went about our lives and lost touch. We re-kindled our friendship due to his wife really. She emailed me to say it was Ian's 50th birthday and she was collecting stories from all his friends over the years. After that we got back in touch and then one day on Facebook I got a message from him in typical dry Yorkshire fashion "now then Grant, I had a listen to your music and I think it's good, how about writing a piece for me ?" I was a little bit unsure at first but of course I loved Ian's playing and of course I said yes. Over a Skype call in 2016, he asked me what I thought I'd write. I said since I live in LA I'd like to write a "Hollywood" trombone piece. Imagine if John Williams had written a piece for solo trombone, that's what I'd like to write - well I'd certainly like to try" - Grant Kirkhope

    Estimated delivery 12-14 days
  • £98.00 £98.00
    Buy from Superbrass

    KirkFeld

    Grant Kirkhope Grant Kirkhope is a BAFTA nominated British composer who has created the soundtrack for video games that have sold in excess of 30 million copies. From “GoldenEye” to “Banjo-Kazooie”, “Viva Pi?ata” to “Donkey Kong”, “Kingdoms of Amalur: Reckoning” to “Civilization: Beyond Earth” and “Perfect Dark” to “Castle of Illusion starring Mickey Mouse”. He has also recently scored the feature film “The King’s Daughter” starring Pierce Brosnan and William Hurt and is currently working on “Yooka Laylee” and “Dropzone”. Grant’s score for “Viva Pi?ata” was nominated by BAFTA in the Original Score category in its 2007 awards. Grant is represented by the prestigious Gorfaine/Schwartz Agency by Cheryl Tiano and Kevin Korn. Grant has a degree in music from the Royal Northern College of Music, Manchester, where he majored in classical trumpet, is a green card holder and now lives in Agoura Hills, LA with his wife and two children. “Ian and I first met when we were around 15 years old. We both played in our county orchestra, the North Yorkshire Schools Symphony Orchestra (I was a trumpet player). I think we hit it off straight away, as we were definitely a couple of cheeky kids, if you know what I mean! We both ended up playing in Rowntree Mackintosh Brass Band for a while too which Ian’s Dad, Trevor conducted. We bumped into each other again when we both went for the Shell/LSO Scholarship. I got to the area finals in Manchester so I was pretty pleased with myself but then I saw Ian and I knew it was all over! Of course Ian went on to win and the rest is history. I saw him again when I was attending the Royal Northern College of Music around 1983 by which time Ian had just got the principal chair at the Halle Orchestra. Then I guess 30 something years went by as we both went about our lives and lost touch. We re-kindled our friendship due to his wife really. She emailed me to say it was Ian’s 50th birthday and she was collecting stories from all his friends over the years. After that we got back in touch and then one day on Facebook I got a message from him in typical dry Yorkshire fashion “now then Grant, I had a listen to your music and I think it’s good, how about writing a piece for me ?” I was a little bit unsure at first but of course I loved Ian’s playing and of course I said yes. Over a Skype call in 2016, he asked me what I thought I’d write. I said since I live in LA I’d like to write a “Hollywood” trombone piece. Imagine if John Williams had written a piece for solo trombone, that’s what I’d like to write - well I’d certainly like to try” – Grant Kirkhope

  • £79.95

    Waiting for a Pain Hit!??!!? - Paul McGhee

    Waiting For a Pain Hit!??!!? was written during November and December 2006 as an entry in the 2006/07 Swiss Brass Band Association Composers Competition. It was later chosen as the Championship Section set test piece for the 2010 Swiss National Brass Band Championships.The piece originates from sketches for a Brass Quintet which was written whilst I was in my second year of studies at the Royal Welsh College of Music and Drama. The piece, now being much more elaborate both musically and structurally than the original, aims to explore the many various textures available to a large brass ensemble. The aims of the piece, from its earliest stages, were mainly exploration of textures as well as dealing with issues of continuity and whilst the piece certainly contains challenging technical elements, they were not a driving force behind its inception and more organically grew from the primary aims of the piece. I was purposefully looking throughout the writing and editing process to create a piece of music with a seamless, ethereal quality to both the structure and the musical content.There are no 'performance directions' throughout the piece, the reasoning for this is explained below. However, I have spent much time and thought over the tempo markings throughout the piece and the tempos throughout the piece are the desired tempi and care should be taken with these. The tempo markings contained throughout the piece form a vital part of the structure and affect the continuity of the piece. Metronome marks contained within a box show the tempo of the new section in relation to the tempo that precedes it by use of metronome modulations. Any alterations tothe tempo of the section that precedes it will alter the boxed metronome marks.The title of a piece of music, please forgive my generalisation, is to give an insight into 'what a piece is about'. I suppose that this piece is no different, but with the title being slightly abstract I shall resist the temptation to reveal what it means to me. The title, I feel, needs to be open to interpretation along with the music within. That's the way, with this piece especially, I like my music to be. Freedom to find our own meaning and a way to express it from within the score is vital. It is only then that the piece can take on its own identity and grow in ways that even I might not have imagined, revealing different sides to its personality with each performance.Before the music begins I have included some text. Do these words hold the key to the music?! Can they help??!I DON'T KNOW!!!I just like the rhythms, the pulse and the imagery. Hopefully all of this can help to create a picture. But let it be your picture...Paul McGhee, June 2010.

    Estimated delivery 3-5 days
  • £25.00

    GREAT GATE OF KIEV, The (from Pictures at an Exhibition) (Brass Band) - Mussorgsky, Modest - Littlemore, Phillip

    Modest Mussorgsky was a close friend of the young artist and architect Victor Hartmann, and his death in 1873 plunged Mossorgsky into a deep depression. The following year a memorial exhibition in St. Petersburg displayed Hartmann's paintings, costumes, architectural designs and sketches. Mussorgsky's visit to it, combined with his desire to write a piece in his friend's memory, inspired him to compose hisPictures At An Exhibitionfor piano. A suite of ten movements, with a recurring Promenade theme, it is one of the composer's most famous works and regarded as a showpiece for virtuoso pianists. It is perhaps the orchestral transcription made by Maurice Ravel in 1922 that is now the most famous version of it. This arrangement opens with a brief excerpt fromThe Hut on Fowl's Legs, which was based on a painting of an elaborately carved clock depicting Baba Yaga, a horrible tiny witch that feasts on human bones. The tenth, and final picture in Mussorgsky's masterpiece is commonly referred to asThe Great Gate of Kiev, although it's literal translation is The Bogatyr Gates ??" a Bogatyr being a hero figure in medieval East Slavic legend. It features a grand main theme that is interspersed with a more solemn hymn-like secondary theme. The work closes with a grand final rendition of the Promenade theme that almost grinds to a halt at what must be the foot of what were to be magnificent ceremonial gates (although they were never actually built!). Duration: 6:00

    Estimated delivery 12-14 days

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  • £25.00

    POMP AND CIRCUMSTANCE MARCH No.2 (Brass Band) - Littlemore, Phillip

    Following the spectacular success of his Pomp & Circumstance March No. 1, which received over 100 performances in its first year, it was almost inevitable that Elgar would write a second. However, what is not commonly known is that the initial sketches for what was to become thePomp & Circumstance March No. 2were written first! Due to the successes of the first march, not least because it now features at every Prom concert, it is forgotten that not only did Elgar submit the manuscript for both marches to his publisher at the same time, but both marches were premiered at the same concert and both performed a few days later at the same Promenade Concert. Duration: 5:00

    Estimated delivery 12-14 days

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