Results
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£22.66All Tuned Up - 120 Famous Tunes for All Occasions (Full Score - US Size) PDFs
This unique new resource from BrookWright Music will be an essential part of every band's library! All Tuned Up is designed to cater for ensembles for occasions throughout the year. Tunes are drawn from genres including Classical, Hymns, Folk and Patriotic amongst many others to form a comprehensive book that will cover a wide variety of events such as Weddings, Funerals, Graduation Ceremonies, Parties, Proms, Remembrance, Street Playing and Thanksgiving. Playable by as few as five players but also designed to work for full brass band or wind band, it features flexible parts in a wide variety of transpositions. These excellent arrangements have been expertly created by Andrew Wainwright, David E. Jones, Dean H. Jones and Steven Ponsford. The general harmonic format of All Tuned Up is in five parts, although additional notes have been included to thicken the harmony where more players are available. Therefore, the book will work equally well with larger groups, including full brass bands and wind bands. To view a promotional video please visit www.youtube.com/watch?v=nmodRrXQRRs At the end of the Part 1 Bb book are four a capela tunes for Remembrance/Memorial occasions. This PDF download is US Letter Size - 11" x 8.5" Physical copies of the books available from: UK - Individual Books Full Set Brass Band Set USA - www.solidbrassmusic.com/product/all-tuned-up-ensemble-books
In Stock: Estimated dispatch 1-3 working days
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£30.00Deus in Adjutorium
DescriptionMonteverdi's Vespro della Beata Vergine (Vespers for the Blessed Virgin) is a musical setting by Claudio Monteverdi of the evening vespers on Marian feasts, scored for soloists, choirs, and orchestra. It is an ambitious work in scope, style and scoring, and has a duration of around 90 minutes. Published in Venice with a dedication to Pope Paul V dated 1 September 1610 as Sanctissimae Virgini Missa senis vocibus ac Vesperae pluribus decantandae, cum nonnullis sacris concentibus, ad Sacella sive Principum Cubicula accommodata ("Mass for the Most Holy Virgin for six voices, and Vespers for several voices with some sacred songs, suitable for chapels and ducal chambers"), it is mercifully regularly shortened to Monteverdi's Vespers of 1610.Monteverdi was born and spent the first part of his working life in Cremona before moving to Mantua (where he composed the Vespers) and finally attaining one of the top jobs in Italian renaissance music as Maestro di Capella at the Basilica di San Marco in Venice. He is most famous for his vocal music, notably his madrigals and the earliest surviving opera, Orfeo.Watch a preview video of the brass band score below:
Estimated dispatch 7-14 working days
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£127.30Mahalageasca - Mahala Rai Banda - Reid Gilje
Mahalageasca is a piece that make you happy both to listen and perform.It's possible to play the piece as a stage entrance piece. Repeat bars 1 to 8 several times. You might let the Drum set and some Percussion start alone. After basses have played their first eight bars, move on to bar nine.It is also possible to perform is as an ancore where you might change positions for the brass players but use the same pattern with Percussion as above.Here's a suggestion for set-up:Backrow sits in front of the conductor (on horn chairs)Soprano and Solo Cornets standing behind them.Trombones sits at the conductors right (on Euphonium/Baritone-chairs)Basses sitting behind the TrombonesFlugelhorn and horns on the left (sitting on the solo cornet chairs)Euphoniums and Baritones behind the horns.Please do not play too loud on mf. A bit press on the start of the slurs often better the emphasis (some marcatos written as well)Bars 96 to 136 is challenging for mallet percussion. They can be played as solo, or two players might share it in a convenient way.
Estimated dispatch 5-14 working days
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£74.99Olympus - Philip Harper
Selected as the test-piece for the 3rd Section Regional contests of the National Brass Band Championships 2012The music begins with a depiction of the exciting Opening Ceremony where noisy fanfares and sudden swells add to the cosmopolitan flag-waving clamour. Without a break the music leads to The Chariot Race, a fast compound-time gallop withthundering hooves in the basses and percussion, and a heroic melody introduced by the tenor horns. Chariot racing was the main equestrian event in the Ancient Greek Games, which were founded in memory of King Oenomaus. In the Greek legend he suffereddefeat in a chariot race to his son-in-law and Zeus' grandson, Pelops, but much of the music is bitter-sweet to symbolise the fact that Pelops had to cheat to win drawing parallels with some of the issues still facing modern-day athletics. A slow, mystical passage follows, describing The Temple of Zeus at Olympia. The statue of Zeus, who was honoured throughout the Ancient Games' history, was housed inside the temple and was one of the Seven Wonders of the Ancient World. Themusic depicts this period of the dawn of one of mankind's most ancient civilisations and there is a series of solo passages above a drone. The next section is called The Olympic Flame and a broad and lyrical anthem-like melody develops slowly in the euphoniums, which gradually ascends until the horns can take it over before passing upwards again to the cornets (Higher). The musicbursts into bright life at the lighting of the flame and the regular rhythmic pattern which has been established goes through an accelerando (Faster). The final section is called The Olympic Truce and aims to capture the cooperative spirit of the ancient practice of ending wars for the duration of the games. The anthem-like melody makes an affirmatory return (Stronger) and the work ends asit began with a blaze of colour and a real sense of optimism and global celebration. "Citius, Altius, Fortius" (Faster, Higher, Stonger)NOTES ON PERFORMANCEPercussion requirements: 1 to 3 players (3 Timpani, Snare Drum, Tenor Drum, Cymbals, Glockenspiel, Triangle)
Estimated dispatch 5-14 working days
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Trumpet Tune and Air - Clarke, Purcell - Len Jenkins
Wobbleco Music is pleased to offer a new arrangement of the famous 'Trumpet Tune in D' for full brass band featuring a soprano cornet solo. The tune is often attributed to Henry Purcell, but in fact was the result of a joint musical production by Jeremiah Clarke and Daniel Purcell (Henry Purcell's younger brother), hence the confusion. For bands that do not have a soprano cornet player, we also include an alternative solo part written for Bb cornet. To complement this, we also include a soprano cornet part in Eb, for use when the band has a soprano player but who is not the featured soloist. Recognising its popularity for weddings and special occasions, where a full band may be impractical for space or availability reasons, we have also produced a quintet edition, which is available as a separate publication from Wobbleco Music.
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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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£12.08All Tuned Up - 120 Famous Tunes for All Occasions (International Size) Hard Copy
This unique new resource from BrookWright Music will be an essential part of every band's library! All Tuned Up is designed to cater for ensembles for occasions throughout the year. Tunes are drawn from genres including Classical, Hymns, Folk and Patriotic amongst many others to form a comprehensive book that will cover a wide variety of events such as Weddings, Funerals, Graduation Ceremonies, Parties, Proms, Remembrance, Street Playing and Thanksgiving. Playable by as few as five players but also designed to work for full brass band or wind band, it features flexible parts in a wide variety of transpositions. These excellent arrangements have been expertly created by Andrew Wainwright, David E. Jones, Dean H. Jones and Steven Ponsford. The general harmonic format of All Tuned Up is in five parts, although additional notes have been included to thicken the harmony where more players are available. Therefore, the book will work equally well with larger groups, including full brass bands and wind bands. At the end of the Part 1 Bb book are four a capela tunes for Remembrance/Memorial occasions. To view a promotional video please visit www.youtube.com/watch?v=nmodRrXQRRs This purchase is for International sizes: Full Score - A4 Size - 297mm x 210mm Band Parts - A5 Size - 210mm x 148mm The full set includes: Full Score Part 1 Eb (optional) - Soprano Cornet/Trumpet Eb, Clarinet Eb Part 1 Bb - Cornet/Trumpet Bb, Clarinet Bb, Flugel, Soprano Saxophone Part 1 C - Piccolo, Flute, Oboe, Part 2 Bb - Cornet/Trumpet, Clarinet Bb, Flugel Part 2 Eb - Tenor Horn, Alto Saxophone, Alto Clarinet Eb Part 2 F - Horn, Cor Anglais Part 3 Bb - Baritone, Trombone, Euphonium, Tenor Saxophone, Part 3 C (Bass clef) - Baritone, Trombone, Euphonium Part 3 Eb - Tenor Horn, Alto Saxophone, Alto Clarinet Eb Part 3 F - Horn, Cor Anglais Part 4 Bb - Euphonium, Baritone, Tenor Saxophone Part 4 C (Bass clef) - Euphonium, Baritone, Bassoon Part 5 Eb - Bass Eb, Baritone Saxophone Part 5 Bb - Bass Bb, Bass Clarinet Part 5 C (Bass clef) - Tuba, Bassoon, String Bass Percussion (optional) - Various
In Stock: Estimated dispatch 1-3 working days
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£40.00
Chorale Prelude
This stately work is very loosely based on the opening chords from 'The Lamb', although there are no direct quotations from that work. The opening chorale is played as gradually more themes are added above in a dignified and legato subject where instruments sustain notes to give a lingering echo effect. Players need to be aware of their role in this to maximise the effect. The second subject increases the intensity until the time signature change introduces a second chorale. Then, a short imitative passage leads to a rising appogiatura theme and the climax of the work, which re-introduces the original chorale in a major tonality. With versions for brass ensemble, brass band, wind orchestra and woodwind orchestra, this work has been placed in concerts when a meaningful, reflective moment is required.
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£16.00Sonata Pian'e Forte
DescriptionSonata Pian'e Forte means an instrumental piece using soft and loud dynamics. A "Sonata" (at this time) meant a piece for instruments (as opposed to voices). It was probably written to be played as part of a service at St Mark's, Venice. This is the earliest known piece to specify both the instruments to be played AND the dynamics in the written music.Gabrieli was born in Venice sometime between 1554 and 1557 and studied with the renowned Dutch composer Orlando di Lassus. He also studied with his uncle, Andrea Gabrieli, and eventually succeeded him as the organist and composer at St Mark's Basilica in Venice. Already renowned as a musical centre, Venice became a magnet for composers wishing to study with Gabrieli after 'Symphoniae Sacrae' was published.Like many of his works, Sonata Pian'e Forte was written to take advantage of the unique layout of St Mark's, which had galleries on three sides where the musicians could be placed to create novel spatial effects - utterly new and exciting for sixteenth century listeners. Sonata Pian'e Forte has two different antiphonal 'choirs' and in this arrangement the band is split into two groups to reflect Gabrieli's innovative idea. Ideally the two groups should be clearly separated so the the antiphonal effect comes across clearly, although this will of course depend on the performance space. On no account should the band remain in its normal seated formation!As Gabrieli didn't have any percussionists (and percussion was widely thought inappropriate for music performed in church anyway) there are no percussion parts in this music.This arrangement is available for full brass band or 8-piece brass ensemble andwas first performed by the Blackley Band conducted by Andrew Baker in 2004.Listen to a computer realisation and follow the score in the video below:Duration approximately 4'20".
Estimated dispatch 7-14 working days
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