Results
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£54.95WORLD WITHIN, A (Brass Band Parts) - Scott, Andy
Brass Band parts only. 'A World Within' is a one-movement work that starts with a simple theme stated by the Soprano Cornet before an ostinato figure in 6/8 time emerges (Vibraphone, Horns and muted 2nd and 3rd Cornets) over which firstly Solo Cornet, and then both Solo Cornets (1 & 2), play a sustained melody. A shift between major and minor harmonies characterises the 'B' section, before making way for a virtuosic Flugel solo. When the Flugel leaves centre stage the front line Cornets take over, leading to a full bodied reprise of the 'B' section. The low brass bridge the gap between what is in effect the end of the first main section of the piece and the second section. The constant time shift between 3/4 and 6/8 that has been prevalent through-out 'A World Within', re-emerges towards the end of the 'slow, heavy blues' section, leading into an intricate almost fugue-like passage (Horn and Baritone leading the way). Out of this comes a short transitional bridge section that leads us back to the (transposed) original 6/8 time theme and feel, this time scored with a bold directness that leads to a powerful 2/4 time passage. The climax of 'A World Within' is heralded by one dark and dissonant chord that is repeated three times. A flashback moment occurs where the 'hymn' is stated (muted Cornets) in a bitonal harmonic world. A final statement emerges from the denseness of sound, a re-working of the initial theme (Solo Cornet), with the last work being left to Solo Eb Bass. Dur: 13:00
Estimated dispatch 7-14 working days
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£20.00
WORLD WITHIN, A (Brass Band Score) - Scott, Andy
Brass Band score only. 'A World Within' is a one-movement work that starts with a simple theme stated by the Soprano Cornet before an ostinato figure in 6/8 time emerges (Vibraphone, Horns and muted 2nd and 3rd Cornets) over which firstly Solo Cornet, and then both Solo Cornets (1 & 2), play a sustained melody. A shift between major and minor harmonies characterises the 'B' section, before making way for a virtuosic Flugel solo. When the Flugel leaves centre stage the front line Cornets take over, leading to a full bodied reprise of the 'B' section. The low brass bridge the gap between what is in effect the end of the first main section of the piece and the second section. The constant time shift between 3/4 and 6/8 that has been prevalent through-out 'A World Within', re-emerges towards the end of the 'slow, heavy blues' section, leading into an intricate almost fugue-like passage (Horn and Baritone leading the way). Out of this comes a short transitional bridge section that leads us back to the (transposed) original 6/8 time theme and feel, this time scored with a bold directness that leads to a powerful 2/4 time passage. The climax of 'A World Within' is heralded by one dark and dissonant chord that is repeated three times. A flashback moment occurs where the 'hymn' is stated (muted Cornets) in a bitonal harmonic world. A final statement emerges from the denseness of sound, a re-working of the initial theme (Solo Cornet), with the last work being left to Solo Eb Bass. Dur: 13:00
Estimated dispatch 7-14 working days
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£80.00St. Magnus - Kenneth Downie
Dedicated to Alastair Massey, an inspirational music teacher. Commissioned by the Scottish Brass Band Association for the 2004 European Brass Band Championships in Glasgow. This music is a set of variations on the tune known as St Magnus, which is attributed to Jeremiah Clarke. Most people will associate it with Thomas Kelly's hymn which begins: "The Head that once was crowned with thorns is crowned with glory now". The tune is very simple, consisting of just two, four-bar phrases. Neither is there much in the way of rhythmic variety, every note being a crotchet with the exception of two quavers, and the last note in each phrase. Within such a simple structure, however, lies considerable strength. THEME The listener is given the opportunity of hearing it twice, in full, at the beginning, starting with one player but soon taken up by the full ensemble. It returns in the middle of the music and is stated again near the end. This has been done quite deliberately in the hope that there will be an appreciation of what material is being developed, by the listener as well as by those with access to the score, who are able to see the visual connections. VARIATION 1 This takes the rhythm of the last part of the theme and also uses the shape of the opening as a recurring figure. The mood is whimsical and skittish, with short, teasing rhythmic figures tossed around the band, and quick interplay with percussion, at a fast tempo. An energetic flourish finishes this variation before the Andante espress. VARIATION 2 This commences with chords related to the opening of Variation 1. The cantabile on solo comets establishes a new, lyrical mood and there is scope for expressive playing in a series of short solo passages. The theme works its way unobtrusively into the texture before a reprise of the solo cornet melody and some more lyrical interchanges between Eb bass, euphonium, flugel horn and comets. The variation ends serenely with clear references to the last phrase of the theme. VARIATION 3 The first idea to dominate is clearly linked to the shape of the theme's first phrase. There is a frenetic feel to much of this variation, with considerable energy and instability created by extensive use of cross-rhythms. A thinning-out of the score marks a clear change to development of the start of the second phrase of the theme. This proves to be short-lived however, and the opening material returns leading to a restatement of the theme, "Maestoso," after which a euphonium cadenza links to Variation 4. VARIATION 4 Here we have some solos for euphonium, cornet, trombone and Eb bass set against a background of horns and baritones presenting a pensive statement of the theme's opening. VARIATION 5 This commences Allegro, with lively work for cornet and euphonium spreading to the whole band before attention focuses on the beginning of the second phrase of the theme which is initially presented in diminution, then in regular rhythm, then in inversion. An increase in tempo coupled with a decrease in volume, requires dexterity and control, with several metrical challenges thrown in for good measure. The same fragment of phrase becomes an ostinato which generates a frenzied climax, punctuated by short, dramatic silence, before the opening figure returns and the music gradually winds down. The tubular bells herald the final return of the theme, in augmentation, marking the start of the Finale. FINALE This features the running semiquavers of the previous variation sounding in counterpoint. A fast, furious coda speeds the work to a conclusion while references to the opening of the theme are still trying to break into the texture of the music. Kenneth Downie
Estimated dispatch 5-14 working days
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£35.62Miserere mei, Deus (Brass Band) Gregorio Allegri arr. Espen Haukus
Miserere mei, Deus was composed by the Italian composer Gregorio Allegri (1582-1652) during the 1630s for use in the Sistine Chapel during matins, as part of the exclusive Tenebrae service on Wednesday and Friday of the Holy Week. The Miserere is written for two choirs, one of five and one of four voices, and is generally accepted to be one of the finest examples of Renaissance polyphony to survive to the present day. Tutti choirs sing a simple version of the original Miserere chant; one voice then, spatially separated, sings an ornamented "commentary" on this. The comment-part is left out in this arrangement due to its meaning with text, though monotonous in tune. The introduction is added by the arranger to set the right atmosphere before the original chant is played. The brass choirs are meant to be placed opposite each other in a church or large hall. To view a video of Norges Nasjonale Brassband performing the piece please visit www.youtube.com/watch?v=YrJU3lwYD9U PDF download includes score and parts. Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Difficulty Level: 4th Section + Instrumentation: Brass Choir 1: Solo Cornets (incl. Repiano) Horn in Eb Tenor Trombones in Bb Euphoniums Basses in Bb Timpani Brass Choir 2: Soprano Cornet in Eb 2nd Cornets in Bb 3rd Cornets in Bb Flugelhorn Horns in Eb Baritones Bass Trombone Basses in Eb
In Stock: Estimated dispatch 1-3 working days
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£15.84Finale from Symphony No.3 (Organ Symphony) (Brass Band) Additional Parts
Saint-Saens' magnificent Finale from Symphony No.3 (widely known as the 'Organ Symphony') has here been arranged for brass band with optional organ by Kevin Norbury. It was recorded by The International Staff Band on its CD Manuscripts, although this version has been revised in places. Saint-Saens decided to add the organ and piano to his 3rd symphony as a pragmatic orchestration innovation. The composition of this symphony was probably started in 1885 and a first draft was completed in Prague in 1886. Saint-Saens later recalled its eventful genesis: 'The Symphony in C was three-quarters sketched out when I found it impossible to write the finale. I did not know how to resolve this situation, until one night I suddenly woke up and, in a sort of hallucination, I heard the whole finale, which I hastily wrote down in outline, knowing that if I went back to sleep without having put anything on paper, I would have forgotten it all the next day.' The symphony was first performed under the composer's direction at Saint James's Hall in London on May 19, 1886. This arrangement by Kevin Norbury can both function as a stand-alone brass band piece, and be performed with an organ by omitting the notes found in square brackets in the parts and score. To view a rolling score video please visit www.youtube.com/watch?v=OlUd_FppBY8 PDF download includes additional parts as listed below. Full set including score available here. Sheet music available from: UK - www.brassband.co.uk USA - www.cimarronmusic.com Difficulty Level: 1st Section + Length: 8.30 mins. Alternative Parts included in this download: Solo Horn F 1st Horn F 2nd Horn F 1st Baritone B.C. 2nd Baritone B.C. 1st Trombone B.C. 2nd Trombone B.C. Euphonium B.C. Tuba 1 B.C. (Bass Eb equivalent) Tuba 2 B.C. (Bass Bb equivalent)
In Stock: Estimated dispatch 1-3 working days
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£11.87I was glad (Brass Band with Organ - Additional Parts) Parry trs. Wainwright
I was glad was originally a choral introit which is a popular piece in the musical repertoire of the Anglican church. It is traditionally sung in the Church of England as an anthem at the coronation of the British monarch, most recently that of King Charles III in May 2023. This transcription for brass band combines the choral and accompaniment parts meaning it is playable as a standalone arrangement. An optional organ part is included to augment the brass. The cornet section is divided into two choirs to create an antiphonal effect. The 'Vivats' are included in this transcription but an optional cut is provided for that section. To view a follow-the-score video please visit www.youtube.com/watch?v=Vx95uSp1yU8 PDF download includes additional parts. Purchase the full score and brass band parts here. Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Difficulty Level: 2nd Section + Parts included in this download: Solo Horn F 1st Horn F 2nd Horn F 1st Baritone Bass Clef 2nd Baritone Bass Clef 1st Trombone Bass Clef 2nd Trombone Bass Clef Euphonium Bass Clef Tuba 1 Bass Clef (Bass Eb equivalent) Tuba 2 Bass Clef (Bass Bb equivalent)
In Stock: Estimated dispatch 1-3 working days
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The Day Thou Gavest | Ellerton arr. Alwyn Green
This beautiful traditional hymn is masterfully arranged by Alwyn Green.The mellow melody opens on single Euphonium, before being joined by Baritone and Tenor horn.The sound expands, yet quietly and prayerfully as the band joins. The music crescendo's into a grand finale with timpani and cymbal accompaniment.A great choice for a hymn piece.InstrumentationSoprano, Solo, Repiano, 2nd and 3rd CornetsFlugelhornSolo, 1st and 2nd Tenor Horns1st and 2nd Baritone1st, 2nd and Bass TromboneEuphoniumEb and Bb BassesPercussion parts (2):1: Timpani2: CymbalISMN: 979-0-708127-03-1
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£74.99Willow Pattern - Philip Harper
Composed in 2009 for Nicholas Childs and the Black Dyke BandThis piece tells the Willow Pattern legend through music. Several leitmotifs are used both for the different characters and also for some of the important emotions in the tale. Additionally, Knoon-se's part is mainly played by the flugel horn, Changby the euphonium, the Mandarin by the Eb Bass and the Duke Ta-jin by the trombone. The Willow Pattern LegendOnce, in ancient China, there lived a wealthy and powerful Mandarin who had a beautiful daughter, Knoon-se. She had fallen in love with Chang, a humble accountant, which angered her father who imprisoned her in the Pavilion by the river with only theexotic birds for company. She learnt that the Mandarin planned to marry her to the pompous Duke Ta-jin and that the wedding would take place on the day the blossom fell from the willow tree, so she sent Chang a message: "Gather thy blossom, ere it bestolen". The Duke arrived by sea amid great fanfare when the tree was heavy with bud, and nights of magnificent banquets followed. After one such occasion when the Mandarin slept, Chang crept over the crooked fence and tiptoed into the Pavilion to rescueKnoon-se, but as they escaped the alarm was raised. They fled over the bridge with the Mandarin close on their heels brandishing his whip.They managed to escape by boat to a secluded island where they lived happily for a time. Meanwhile, the Mandarin learned of their refuge and, intent on revenge, he ordered his soldiers to kill them. As Knoon-se and Chang slept at night, the men setfire to the pagoda in which they lived and the lovers perished in the flames. However, the Gods, moved by the lovers' plight, transformed their souls into two turtle-doves which rose from the charred remains, soaring above the Earth, symbolising eternal happiness. Willow Pattern is dedicated to the memory of Jean Harper who passed away as I was completing the piece and who was a great collector of porcelain and china-ware. NOTES ON PERFORMANCEMute Requirements:Metal mutes soprano cornet, repiano cornet, 2nd cornets, 3rd cornets (6 in total) Cup mutes all cornets and trombones (10 + 3) Harmon mutes soprano cornet, solo cornets, repiano cornet (6) Percussion Requirements:There are two parts for percussion on the score. The minimum requirements are as follows: 2 players - Timpani, 2 Large tom toms, 2 Wood Blocks, Triangle, Sleigh Bells, Whip, Clash Cymbals, Suspended Cymbal, Hi-hat, Glockenspiel, Xylophone, Tam tam (or susp. cym.) For performances with extra resources, and to achieve closer authenticity, the full requirements are as follows: 3 players - Timpani, 3 Taiko Drums played with thick wooden sticks (or Large tom toms), 2 Wood Blocks, Triangle, Chinese Bells (or Sleigh Bells), Whip, Clash Cymbals, Chinese Cymbals (small clash cymbals approx 12"), Suspended Cymbal, Glockenspiel,Xylophone, Tam tam
Estimated dispatch 5-14 working days
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