Results
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£20.00Pioneers (Ensemble) - Steve Robson
The 19th Century was a time of great pioneering spirit, where developments in industry, and transport were to begin a process, which was to transform societies around the world beyond recognition.In the vast, so-called "New World" of America these changes were exemplified as the railways spread out to reach hitherto remote and largely unexplored expanses.Steve Robson has written Pioneers as a three movement piece for brass and percussion ensemble (and also now available as a full brass band version), written in the spirit of John Philip Sousa (1854 - 1932), Stephen Foster (1826 - 1864) and Scott Joplin (1868 - 1917).The three movements have been written for the following instrumentation:2 x Bb cornet1 x flugelhorn1 x Eb Tenor Horn1 x tenor trombone1 x euphonium1 x Eb Bassdrumkit and percussionand consist of:March - The US Marine Band (1880)Spiritual - I'm Lookin' Up To HeavenRagtime - Canonball RagAlso available for brass band.
In Stock: Estimated dispatch 3-5 working days
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In Dreams - Roy Orbison - Len Jenkins
"In Dreams" is a song composed and sung by rock and roll performer Roy Orbison, and was released as a single on Monument Records in February 1963. Orbison later claimed that the origin for "In Dreams" came to him while he was sleeping, as many of his songs did. When he woke up the next morning, the entire composition was written in 20 minutes. Like many of Orbison's songs, but unlike the majority of rock and roll ballads, in under 3 minutes it goes through seven movements with distinct melodies and chord progressions without repeating itself. It was for that reason that I have always believed it was a suitable piece for brass where one does not have lyrics to distinguish changes between verses to avoid monotony. Graham Cooper
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£62.00Montage (Score only) - Peter Graham
Each of the movements of the symphony take as their starting point forms originating in music of the 16th and 17th centuries. The first, an intrada, introduces the main thematic material (based on the interval of a minor third) in its embryonic state. As the piece progresses, this material is developed and manipulated in a variety of ways. The interval of the third remains central to the overall scheme of the work, even unifying the three movements on a tonal plane (I: F (minor); II: A flat (major); III: C flat (minor). The internal structure of the intrada is an arch form: ABCBA, roughly modelled on the first movement of Concerto for Orchestra by Witold Lutoslawski, to whose memory the movement is dedicated. A chaconne follows - the basic material now transformed into expansive solo lines underpinned by a recurring sequence of five chords (again, a third apart). The movement's structure combines both ternary form and golden section principles and the chaconne's continuous cycle of chords may be visualised as circles. The final movement, a rondo, bears the dramatic weight of the entire work, as the underlying tonal tensions surface. A musical journey ensues, making diversions through lyrical territories as well as through more spiky, jazz-flavoured ones. The aural (and visual) montage is perhaps most apparent towards the climax of the piece, where three keys and polyrhythms sound simultaneously in the upper brass, xylophone, horns, and timpani. The climax itself combines the lyrical music heard earlier with the rondo theme, now presented by cornets and trombones in canon. The teleological thrust of the movement (if not the entire work) can be symbolized by the flight of an arrow, as it steers a predetermined course towards its target. Duration: 16:00
Estimated dispatch 7-9 working days
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£74.00Montage (Parts only) - Peter Graham
Each of the movements of the symphony take as their starting point forms originating in music of the 16th and 17th centuries. The first, an intrada, introduces the main thematic material (based on the interval of a minor third) in its embryonic state. As the piece progresses, this material is developed and manipulated in a variety of ways. The interval of the third remains central to the overall scheme of the work, even unifying the three movements on a tonal plane (I: F (minor); II: A flat (major); III: C flat (minor). The internal structure of the intrada is an arch form: ABCBA, roughly modelled on the first movement of Concerto for Orchestra by Witold Lutoslawski, to whose memory the movement is dedicated. A chaconne follows - the basic material now transformed into expansive solo lines underpinned by a recurring sequence of five chords (again, a third apart). The movement's structure combines both ternary form and golden section principles and the chaconne's continuous cycle of chords may be visualised as circles. The final movement, a rondo, bears the dramatic weight of the entire work, as the underlying tonal tensions surface. A musical journey ensues, making diversions through lyrical territories as well as through more spiky, jazz-flavoured ones. The aural (and visual) montage is perhaps most apparent towards the climax of the piece, where three keys and polyrhythms sound simultaneously in the upper brass, xylophone, horns, and timpani. The climax itself combines the lyrical music heard earlier with the rondo theme, now presented by cornets and trombones in canon. The teleological thrust of the movement (if not the entire work) can be symbolized by the flight of an arrow, as it steers a predetermined course towards its target. Duration: 16:00
Estimated dispatch 7-9 working days
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£33.00
Carnaval Dorado
Translated literally, Carnaval Dorado means 'golden carnival'. Whilst composing this piece, I had in mind a marching carnival band that slowly forms out of the morning mist but then quickly starts marching with energy and purpose in the early sunshine. There is a brief siesta halfway through where the 'band' conserves its energy in the mid-day sun but soon the percussion section calls the band
In Stock: Estimated dispatch 1-3 working days
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£29.95Soliloquy II (Euphonium Solo with Brass Band - Score and Parts)
A few years ago, I wrote a Soliloquy based on a Salvation Army song by George Marshall called Soliloquy (In the Stillness), since published in the General Series. This solo follows up the form of that previous work, though it is quite different in emotional content, and was a commission during Covid lockdown from Euphonium player Micah Dominic Parsons.The main inspiration is the tune Cross of Jesus by John Stainer as well as a motif from some older Euphonium Studies from the Royal Military School of Music, Kneller Hall, that Micah had discovered. The tune is used in a chorale form and, after an introduction, the very first section is a reversal of the chorale that appears in the second half of the work. The Euphonium exclamations are all derived from the main tune and the study motif. The work begins in quite a dark reflective manner, representing those aspects of the song, without being too specific. The second half reflects the more positive characteristics and finds a triumphal nature in its conclusion. The soloist lines throughout have a very declamatory style and can have a freedom in performance.There is one new element in the coda, where the triplet motif (bars 87-89) is a direct quotation from Romans 8 - A brass celebration by Ray Steadman-Allen. RSA was a good friend, mentor and encourager to me. The glorious climax of Romans 8 is his presentation of the same tune (Cross of Jesus) used in this work. And so the piece ends with a final and personal reference to RSA!- Howard Evans
Estimated dispatch 7-14 working days
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£55.00Triumph Series Brass Band Journal, Numbers 1359 - 1362, March 2024
1359: Festival March - Coastal Celebration (Sam Creamer)Coastal Celebration was commissioned in 2019 by Nambour Salvation Army Band for the Corps' 125th anniversary celebrations. Nambour was the birthplace of The Salvation Army's work on the Beautiful Sunshine Coast in Queensland, Australia. Firring with this theme are subtle tributes to iconic Sunshine Coast landmarks, referenced with small phrases of popular secular melodies intertwined with the main tunes What a faithful God (S.A.S.B. 378) and All through the years (S.A.S.B. 826).1360: He's always been faithful (Craig Woodland)This meditative selection is an arrangement of the song by American singer and record producer Sara, Groves, He's always been faithful. The words express the joy and thankfulness in having a relationship with Jesus and knowing his presence in life. The melody and motifs of the traditional hymn, Great is thy faithfulness (S.A.S.B. 26), are heard throughout.1361: Christ's living water (Dean Jones)Christ's sacrificial love has been beautifully portrayed through the imagery of water in many songs, none more so that the skilfully crafted words we find in the chorus of I know a fount (S.A.S.B. 197), written by Oliver Cooke. To enhance the sentiments expressed, the pure sounds derived from Handel's Water Music fit perfectly in terms of music and imagery.1362: March - Fear Not! (Avelan Ntsiete)The Salvation Army continues to proclaim its music ministry in all corners of the world and, with this item under review, we introduce a new composer, originally from Congo Brazzaville, Central Africa. Avelan Ntsiete is currently a Bandsman at the Lilas Corps in Paris but has previously served in the Congo Brazzaville Territorial Band. This march, in traditional format, was written for an evangelistic campaign in Kindamba, where civil war has brought upheaval to the area and uncertainty for the local Salvationists. The composer was part of a small brass group which travelled for over 24 hours by truck and on foot to reach Kindamba and bring encouragement to the Salvationists within that community.
Estimated dispatch 7-14 working days
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£70.00General Series Band Journal April 2017 Numbers 2166-2169
Festival March - Faith on track (Andrew Blyth)Originally written for the Peterborough Citadel Band where the composer is the Bandmaster. This march features 'This train is bound for Glory' and 'The Gospel Train' in reference to the association with the City of Peterborough and its strong links with the Railway. Also found is the song 'Share your faith' which speaks of the evangelistic nature of the Corps and its people.Flashpoint (Martin Cordner)Written for The Melbourne Staff Band and featured at the Boundless Congress in 2015, the 'John Williams type' main theme is supplemented with an exciting setting of the song 'I'll stand for Christ'.Wells (Sam Creamer)A simple hymn tune arrangement based on the title of the work.All your anxiety (Brian Hogg)The tune 'All your anxiety' has been given a developed and thoughtful setting by Australian Salvationist Brian Hogg.
Estimated dispatch 7-14 working days
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£34.95Deep River (Eb Solo with Low Brass Ensemble - Score and Parts)
Solo for Eb Bass with Low Brass Ensemble (Euphoniums 1 & 2, Eb Bass 2 and Bb Bass 1 & 2)Deep River is one of the best known of the spirituals originating among the enslaved Africans in the United States during the 18th and 19th centuries. Although primarily expressions of religious faith, spirituals were also veiled protest songs, the sense of oppression conveyed in the lyrics being clear to present day performers:Deep River,My home is over Jordan.Deep River, Lord.I want to cross over into campground.Oh, don't you want to go,To the Gospel feast;That Promised Land,Where all is peace?(Includes treble and bass clef parts)
Estimated dispatch 7-14 working days
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£44.95The Day of the Lord (Brass Band - Score and Parts)
This music was inspired by passages from the Old and New Testaments where the last days are prophesied. It features several references to the tune 'The judgment day' along with the more contemporary songs 'I see the King of Glory' and Salvation belongs to our God.
Estimated dispatch 7-14 working days