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£95.00
Torsion (Score & Parts) - Simon Dobson
Torsion was commissioned by the Leyland Band and first performed on 23 January 2010 at the Royal Northern College of Music Festival of Brass, Manchester, by Leyland Band conducted by Jason Katsikaris. This colourful and dynamic work is the most personal and ambitious that Simon Dobson composed during his residency with the Lancashire brass band. The dictionary defines torsion as the state of being twisted and the composer interprets this as the imagined dis-torsions and con-torsions of Time, Light and Sound in three contrasting movements. Simon Dobson fuses the traditional brass band sound with drive and energy of pop and funk jazz with optional digitally distorted 'echoes' providing added aural confusion at the points of climax. Although composed as a substantial concert work, Torsion would also make a challenging test-piece for contesting brass bands in the elite divisions.
In Stock: Estimated dispatch 1-3 working days
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£50.00
The Dreaded Groove And Hook (Score & Parts) - Simon Dobson
The Dreaded Groove and Hook is an up-tempo acid-jazz number that draws inspiration from bands like Jamiroquai and The Youngblood Brass Band. The groove in question is the main tune that is shared round the band, whilst the hook, in 'pop' terms, is the catchy bit of the song. The whole band joins in to play a huge 'riff' that acts as a chorus to the jazz-like verses.The piece was commissioned by Jason Katsikaris and The Leyland Band, who gave the first performance as part of their programme for the Brass In Concert Championships, held at The Sage, Gateshead on the 16th November 2008. It has now been recorded by the same band and conductor on the CD entitled Penlee. Brass Band Grade 5: 1st SectionDuration: 4 minutes
In Stock: Estimated dispatch 1-3 working days
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£85.00
The Alchymist's Journal - Kenneth Hesketh
The Alchymist's Journal (Variants for Brass Band) was commissioned by Faber Music Band Consultant Paul Hindmarsh in 2001, with the support of the Brass Band Heritage Trust, as a substantial concert/contest challenge that would be within the compass of the country's most able youth and first section bands. It received its first performance in January 2002, by Black Dyke Band under Nicholas Childs, as part of the Royal Northern College of Music Festival of Brass.Since its original publication, composer Kenneth Hesketh has made a number of revisions to the work. Most of these were included in the recording made by Foden's Band (Bramwell Tovey) for NMC Recordings (NMC D142). This definitive new edition, including all the composer's revisions, has been specially prepared for the 2015 National Brass Band Championships of Great Britain and is the text that all bands performing will be required to use.Brass Band Grade 5: 1st SectionDuration: 12 minutes.
In Stock: Estimated dispatch 1-3 working days
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£34.95Pall Mall - Jonathan Bates
DURATION: 3'00". DIFFICULTY: Champ. 'Pall Mall' was composed for the Flowers Band's Monopoly themed set at the 2021 Brass in Concert Championships held at The Sage, Gateshead. This short showpiece is composed in a similar vein to a work of similar influence - 'Pel Mel' by W. Hogarth Lear - in which each section of the band is allowed to show off their technical prowess in a whistlestop tour of the brass band. 'Pall Mall' takes a similar form, with each section of the band taking it in turn to show off their skills with a flourish!.
In Stock: Estimated dispatch 1-3 working days
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£184.00The Maestro - Andrew Pearce
The Maestro, a concertino voor trompet en band, was commissioned by Philip Cobb, principal trumpet of the London Symphony Orchestra. I spent most of Summer 2011 in Prague and London composing this demanding piece, for this was a wonderful opportunity to write a large scale work for one of the world's finest Trumpet virtuosos and I accepted the assignment with great enthusiasm. I also felt a great responsibility to deliver a tour de force for this world class player that was both challenging and enjoyable. Phil was seeking melodies and themes in the piece and had enjoyed my album 'Cinema Symphony', and the dramatic vistas it conjured up. Before writing began, I listened to his beautiful album 'Life Abundant' many times, ensuring I had his sound in my head while writing. The piece represents the many aspects of a contemporary trumpeter's musical life from; brass band chorale (a homage to Phil's musical roots), to the symphonic concert hall to the film recording studio. I am delighted to have had Phil and the International Staff Band record this work under the baton of Dr Stephen Cobb. Its a tour de force not only for the soloist but also for the band and should be an exciting challenge for the very best bands out there.
Estimated dispatch 10-14 working days
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£10.00Kopanitsa
DescriptionKopanitsa was commissioned by Gavin Pritchard, who is also the work's dedicatee and gave the first performance with the Tongwynlais Temperance Band conducted by Gareth Pritchard at the Butlins Mineworkers Championship on 20 January 2008, winning the prize for best soloist as a result. He has recorded it on the CD "Enter the Galaxies" accompanied by the Cory Band conducted by Robert Childs.Gavin had requested a virtuoso showpiece featuring as many instruments as possible. The solo part is therefore written for vibraphone (bowed and struck), 10 x tuned tom toms, 5 x suspended cymbals plus hi-hat and a xylophone. The soloist's 'choreography' therefore forms an integral part of the performance. This can be seen to great effect in Gavin's performance of the work at the 2013 Brass in Concert Championship with Tredegar Band, available on the DVD of the event from World of Brass. A 'kopanitsa' is a Bulgarian folk dance that traditionally features two slow beats and two quick beats, reflected in the central 10/8 section. The music is deliberately Balkan in character, using the characteristic modes of Greek and Bulgarian folk music, and accelerates regularly to finish at breakneck speed. The tom-tom section marked 'ad lib.' after [D] can be improvised if the soloist wishes.You can follow the score in the preview video below!PercussionThe band percussion parts are written for timpani, snare drum, suspended cymbal, tambourine on a stand and bass drum. It is possible to combine these with the soloist part to make the work a feature for percussion trio and parts for this can be made available on request.MutesSoprano cornet, solo and 1st horn, 1st and 2nd baritone and euphoniums will require straight mutes (metal ideally). Soprano cornet, principal cornet, repiano and 1 x 2nd cornet, plus all trombones, will require cup mutes. Repiano, 2nd and 3rd cornet require harmon mutes with the tubes removed (indicated by 'TR').
Estimated dispatch 7-14 working days
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£50.00The Dreaded Groove and Hook - Simon Dobson
The Dreaded Groove and Hook is an up-tempo acid-jazz number that draws inspiration from bands like Jamiroquai and The Youngblood Brass Band. The groove in question is the main tune that is shared round theband, whilst the hook, in 'pop' terms, is the catchy bit of the song. The whole band joins in to play a huge 'riff' that acts as a chorus to the jazz-like verses. The piece was commissioned by JasonKatsikaris and The Leyland Band, who gave the first performance as part of their programme for the Brass In Concert Championships, held at The Sage, Gateshead on the 16th November 2008. It has now been recorded by the same bandandconductor on the CD entitled Penlee.Brass Band Grade 5: 1st SectionDuration: 4 minutes
Estimated dispatch 5-14 working days
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£59.99Salute to a Hero - Philip Sparke
It is a tradition at Marlow High School, Oklahoma, that the band members' parents host a Band Banquet every May, at which the senior members of the band present a gift to the band director as a token of gratitude for his year's work. In 2009, clarinet player Brenna Hensley had the idea to commission a new piece from composer Philip Sparke to present to band director Billy Daniel, which would be played at the Spring Concert later that month. Salute to a Hero was the result.The piece opens with a decorated fanfare played on cornets and trombones and, after a short bridge passage, this reappears, played by the full band. A central lyrical section brings a mood of calm, utilisingdifferent brass colours, before the fanfare returns to close the work.
Estimated dispatch 5-14 working days
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£25.95African Adventure - Darrol Barry
An upbeat, fun piece which exudes positive-vibes from the outset. This original composition by Darrol Barry for brass band is a great addition to concert repertoire. A nice balance of strong rhythm, touches of featured obligato and a catchy melody.Darrol Barry composed this work in support of a charitable project, known in 2005 as Brass Band Aid. The organisation called for original compositions to be included in a follow-up CD release - Into Africato help raise funds for projects in Adet, Africa, and to build awareness of theMake Poverty History campaign. African Adventure was featured on the CD with a recording by the Black Dyke Band.Now that the original BBA projects are complete, funds raised by the titles we publish from the Brass Band Aidseries continue to support other music-related projects on a regular basis.Look and Listen (performance courtesy of Bertnes Brass 2016):
In Stock: Estimated dispatch 3-5 working days
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£75.00As Above, So Below - Jay Capperauld
An original composition for brass band and brass quintet by Jay Capperauld was commissioned by John Wallace and The Wallace Collection with the support of the PRS Foundation's Beyond Borders. This major work enjoyed its world premiere at The Cumnock Tryst on 30 September 2017 at Cumnock Old Church, performed by The Wallace Collection and Dalmellington Band, conducted by Martyn Brabbins.If you would like to perform this work, please don't hesitate considering The Wallace Collection to provide the brass quintet elements - if you would like to discuss potential performances, please contact us on [email protected] NotesBased on the Hermetic maxim "As Above, So Below", the phrase comes from the cryptic text of The Emerald Tablet, which was purportedly written by a mysterious character who is thought of as an amalgamation of Greek and Egyptian Gods, Hermes Trismegistus. The text first appears in Arabic between the 6th and 8th Centuries and is intended to outline the primitive and hidden sources that constitute the basis of all matter in the universe. The phrase "As Above, So Below" implies an essential "oneness" of all matter and a correlation between the physical elements and supernatural entities that make up our surroundings. The philosophies expressed within The Emerald Tablet have become a founding principle of Alchemy, Occultism, Witchcraft, Theosophy and various other ancient gnostic systems of belief, and this work attempts to explore these forms of so-called "secret knowledge" in a ritualistic trance-like Adagio steeped in the esoteric.The Brass Band is placed at the centre of the stage while the solo Brass Quintet are spread antiphonally around the concert hall and are placed above both the Brass Band and the audience in an attempt to create a direct dialogue between the Above and the Below. Therefore, the piece endeavours to explore the meaning behind the text of The Emerald Tablet as well as the phrase 'As Above, So Below' in a music context while giving particular attention to the 'SOLVE' (Latin for 'Separate' which correlates to the Above) and 'COAGLUA' (Latin for 'Join Together' which relates to the Below) that is depicted in the image of the Baphomet by the French occultist author, Eliphas Levi, which is a visual representation of the phrase 'As Above, So Below'.Additional Note of InterestIt was not until the work was complete that the role of the main melody became clear when an unexpected and inadvertent correlation between this melody and that of the Latin Dies Irae presented itself. The plainchant nature of As Above, So Below's melody became a defining feature of the piece and when compared to the melody of the Dies Irae (a similar melody reminiscent of that contained within As Above, So Below), some interesting and unsettling implications unveiled themselves.The findings of a comparison can be interpreted as follows:Both melodies adhere naturally to the plainchant idiom, which in itself strongly relates to a supernatural (or quasi-religious) element in both cases.Both melodies originate in the key of D; the Dies Irae resides in the Dorian Mode on D while the As Above, So Below melody inhabits the D Octatonic Scale.Both melodies can be divided into three distinct phrases, although the melody to As Above, So Below can be divided into three phrases in a number of ambiguous ways.The most striking and unnerving connection is that, by pure chance, the Latin text to the Dies Irae fits perfectly under both melodies giving an entirely specific context to how the melodies are perceived.By understanding the As Above, So Below melody as an alternative to that of the Dies Irae and by interpreting it in the same context, the connotations of the Dies Irae's otherworldliness, and the suggestion of a dialogue with the supernatural and death adds a richer dimension to the As Above, So Below melody which in turn solidifies the esoteric concept of this work.In conclusion, this unanticipated and purely accidental relationship between both melodies is worthy of note more so from an emotional and contextual perspective rather than from any analytical evaluation concerning the music itself - it is the circumstance of the so-called "secret knowledge" that has presented itself within the inner workings of As Above, So Below.
In Stock: Estimated dispatch 3-5 working days
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