Results
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£10.00
INFINITY (Brass Band Study Score) - Robert Redhead
In the post-modern age in which we live, 'absolutes' are difficult for many to comprehend. Yet infinity, which means absolute, total, all-embracing, having no limits or boundaries in time, space, extent, or magnitude, has always been central to the Christian's concept of God.Through the ages, as human understanding has grown, particularly at a remarkable rate from the latter part of the twentienth century, Christianity has been continually challenged to interpret traditional beliefs in the light of new discoveries, but always within the reality of the infinite Being. In addition, scripture tells us that 'humanity was made in God's image'. Humankind is part of God's creation and as such, responsible for its upkeep. Such a commission has never been more relevant than in this present age. Psalm 8 creates a great picture of the majesty, eternal, infinte quality of God and yet reveals the desire of God to share in spirit with humankind. It recognises humankind as being, not a tool of the infinite, but as a creative contributing part of the ongoing movement and activity of the infinite. The music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality. It is not based on the Psalm but reflects some of the sentiments lying therein. The 'hymn-like' theme expresses the nature of the Divine using the Old Testament image of the infinite God coming to finite humankind, not in the 'wind', the 'earthquake', the 'fire', but in the 'still small voice' of quietness (1 Kings 19: 11-13). The ensuing musical development, in different styles and patterns, expresses this continual link between infinite and finite. Thus the conclusion, rather than being a symbol of might, power and magnificence, reflects the same sentiment as the opening.
Estimated dispatch 7-14 working days
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£169.99Destination Moon (Brass Band - Score and Parts) - Raphael, Paul
Destination Moon was first performed by Cory Band at the 2017 European Championships in Ostend, Belgium, and is inspired by the Belgian comic-book hero Tintin. The first part is called 'Science' and describes the development of the theory of space travel. The second part is 'Humanity' which addresses human concerns and philosophies about our place in the universe. The third part is 'The Launch' which ends with a repetition of the words 'Earth to Moon Rocket - are you receiving me?' as the rocket vanishes into a tiny speck in the sky. Duration: 18.45
Estimated dispatch 7-14 working days
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£89.95Four Etudes (Brass Band - Score and Parts) - Gregson, Edward
This work was written during August and September 2016. In it, I wanted primarily to explore the elements of timbre, rhythm, texture and colour. The first three tudes (or studies) are based on a set of piano pieces I composed in 1982, whilst the last, the longest of the set, was composed specially. My reference point was the Four tudes for orchestra of 1928 by Stravinsky, a work I have always admired, and of which the first three also happen to be based on a set of earlier pieces, in his case for string quartet, with the last being a re-arrangement of a work for pianola. I have also borrowed the titles he gave to the individual studies as they seemed to fit the mood of my pieces.However, the exception is the final study, where instead of the exuberant mood of his colourful portrayal of Madrid, mine was influenced by the terrible human tragedy that was unfolding in Aleppo at the time I was writing it, and thus reflects the violence and barbarism of those events; yet towards the end it does offer a glimmer of hope for humanity with a return to the Canticle (Song) of the first study, and concludes quietly with the chords and bells that began the work. The titles of the tudes are Canticle, Dance, Excentrique, and Aleppo. Like Stravinsky's, the set is relatively short, lasting around 8 minutes.The Four tudes were commissioned by Black Dyke Band and were written specially for the recording marking the conclusion of my year as Composer-in-Residence. The concert premiere will be given by Black Dyke Band, conducted by the composer, at the RNCM Festival of Brass in January 2017.- Edward GregsonDuration: 8.00
Estimated dispatch 7-14 working days
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£37.95Four Etudes (Brass Band - Score only) - Gregson, Edward
This work was written during August and September 2016. In it, I wanted primarily to explore the elements of timbre, rhythm, texture and colour. The first three tudes (or studies) are based on a set of piano pieces I composed in 1982, whilst the last, the longest of the set, was composed specially. My reference point was the Four tudes for orchestra of 1928 by Stravinsky, a work I have always admired, and of which the first three also happen to be based on a set of earlier pieces, in his case for string quartet, with the last being a re-arrangement of a work for pianola. I have also borrowed the titles he gave to the individual studies as they seemed to fit the mood of my pieces.However, the exception is the final study, where instead of the exuberant mood of his colourful portrayal of Madrid, mine was influenced by the terrible human tragedy that was unfolding in Aleppo at the time I was writing it, and thus reflects the violence and barbarism of those events; yet towards the end it does offer a glimmer of hope for humanity with a return to the Canticle (Song) of the first study, and concludes quietly with the chords and bells that began the work. The titles of the tudes are Canticle, Dance, Excentrique, and Aleppo. Like Stravinsky's, the set is relatively short, lasting around 8 minutes.The Four tudes were commissioned by Black Dyke Band and were written specially for the recording marking the conclusion of my year as Composer-in-Residence. The concert premiere will be given by Black Dyke Band, conducted by the composer, at the RNCM Festival of Brass in January 2017.- Edward GregsonDuration: 8.00
Estimated dispatch 7-14 working days
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£89.95
Infinity (Brass Band - Score and Parts) - Redhead, Robert
In the post-modern age in which we live, 'absolutes' are difficult for many to comprehend. Yet infinity, which means absolute, total, all-embracing, having no limits or boundaries in time, space, extent, or magnitude, has always been central to the Christian's concept of God.Through the ages, as human understanding has grown, particularly at a remarkable rate from the latter part of the twentienth century, Christianity has been continually challenged to interpret traditional beliefs in the light of new discoveries, but always within the reality of the infinite Being. In addition, scripture tells us that 'humanity was made in God's image'. Humankind is part of God's creation and as such, responsible for its upkeep. Such a commission has never been more relevant than in this present age. Psalm 8 creates a great picture of the majesty, eternal, infinte quality of God and yet reveals the desire of God to share in spirit with humankind. It recognises humankind as being, not a tool of the infinite, but as a creative contributing part of the ongoing movement and activity of the infinite. The music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality. It is not based on the Psalm but reflects some of the sentiments lying therein. The 'hymn-like' theme expresses the nature of the Divine using the Old Testament image of the infinite God coming to finite humankind, not in the 'wind', the 'earthquake', the 'fire', but in the 'still small voice' of quietness (1 Kings 19: 11-13). The ensuing musical development, in different styles and patterns, expresses this continual link between infinite and finite. Thus the conclusion, rather than being a symbol of might, power and magnificence, reflects the same sentiment as the opening.
Estimated dispatch 7-14 working days
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£44.95
Infinity (Brass Band - Score only) - Redhead, Robert
In the post-modern age in which we live, 'absolutes' are difficult for many to comprehend. Yet infinity, which means absolute, total, all-embracing, having no limits or boundaries in time, space, extent, or magnitude, has always been central to the Christian's concept of God.Through the ages, as human understanding has grown, particularly at a remarkable rate from the latter part of the twentienth century, Christianity has been continually challenged to interpret traditional beliefs in the light of new discoveries, but always within the reality of the infinite Being. In addition, scripture tells us that 'humanity was made in God's image'. Humankind is part of God's creation and as such, responsible for its upkeep. Such a commission has never been more relevant than in this present age. Psalm 8 creates a great picture of the majesty, eternal, infinte quality of God and yet reveals the desire of God to share in spirit with humankind. It recognises humankind as being, not a tool of the infinite, but as a creative contributing part of the ongoing movement and activity of the infinite. The music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality. It is not based on the Psalm but reflects some of the sentiments lying therein. The 'hymn-like' theme expresses the nature of the Divine using the Old Testament image of the infinite God coming to finite humankind, not in the 'wind', the 'earthquake', the 'fire', but in the 'still small voice' of quietness (1 Kings 19: 11-13). The ensuing musical development, in different styles and patterns, expresses this continual link between infinite and finite. Thus the conclusion, rather than being a symbol of might, power and magnificence, reflects the same sentiment as the opening.
Estimated dispatch 7-14 working days
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£10.00
Infinity (Brass Band - Study Score) - Redhead, Robert
In the post-modern age in which we live, 'absolutes' are difficult for many to comprehend. Yet infinity, which means absolute, total, all-embracing, having no limits or boundaries in time, space, extent, or magnitude, has always been central to the Christian's concept of God.Through the ages, as human understanding has grown, particularly at a remarkable rate from the latter part of the twentienth century, Christianity has been continually challenged to interpret traditional beliefs in the light of new discoveries, but always within the reality of the infinite Being. In addition, scripture tells us that 'humanity was made in God's image'. Humankind is part of God's creation and as such, responsible for its upkeep. Such a commission has never been more relevant than in this present age. Psalm 8 creates a great picture of the majesty, eternal, infinte quality of God and yet reveals the desire of God to share in spirit with humankind. It recognises humankind as being, not a tool of the infinite, but as a creative contributing part of the ongoing movement and activity of the infinite. The music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality. It is not based on the Psalm but reflects some of the sentiments lying therein. The 'hymn-like' theme expresses the nature of the Divine using the Old Testament image of the infinite God coming to finite humankind, not in the 'wind', the 'earthquake', the 'fire', but in the 'still small voice' of quietness (1 Kings 19: 11-13). The ensuing musical development, in different styles and patterns, expresses this continual link between infinite and finite. Thus the conclusion, rather than being a symbol of might, power and magnificence, reflects the same sentiment as the opening.
Estimated dispatch 7-14 working days
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£49.95Of Men and Mountains (Brass Band - Score only) - Gregson, Edward
Of Men and Mountains was commissioned by the Netherlands Brass Band Championships for their 10th Anniversary Contest, held in Drachten in December 1990.The title of the work and its genesis came about as a result of a train journey the composer took in July 1989 across Canada from Toronto to Vancouver. The awe-inspiring journey through the Rocky Mountains, with its high peaks and shafts of sunlight breaking through the clouds, with its canyons and ferocious rapids, made the composer understand a little more about the majesty of nature and the fragility of humanity. The eternal struggle between man and nature was personified in the building of this incredible railway, hence the title (after Blake).The work is dedicated to the memory of Eric Ball, who died shortly before the writing of the work was commenced.Of Men and Mountains is in one continuous movement and lasts about 17 mins. Its form is difficult to describe because of its motivic and accumulative nature, but it is essentially a symphonic tone poem in search of a theme, which eventually comes in its final and complete state in the majestic ending after an ever-increasing paced scherzo.Duration: 17.00
Estimated dispatch 7-14 working days
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£94.95Of Men and Mountains (Brass Band - Score and Parts) - Gregson, Edward
Of Men and Mountains was commissioned by the Netherlands Brass Band Championships for their 10th Anniversary Contest, held in Drachten in December 1990.The title of the work and its genesis came about as a result of a train journey the composer took in July 1989 across Canada from Toronto to Vancouver. The awe-inspiring journey through the Rocky Mountains, with its high peaks and shafts of sunlight breaking through the clouds, with its canyons and ferocious rapids, made the composer understand a little more about the majesty of nature and the fragility of humanity. The eternal struggle between man and nature was personified in the building of this incredible railway, hence the title (after Blake).The work is dedicated to the memory of Eric Ball, who died shortly before the writing of the work was commenced.Of Men and Mountains is in one continuous movement and lasts about 17 mins. Its form is difficult to describe because of its motivic and accumulative nature, but it is essentially a symphonic tone poem in search of a theme, which eventually comes in its final and complete state in the majestic ending after an ever-increasing paced scherzo.Duration: 17.00
Estimated dispatch 7-14 working days
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£33.00MOONRAKER (Brass Band) - Barry, John - Barry, Darrol
Moonraker (1979) was the eleventh spy film in the James Bond series, and the fourth to star Roger Moore as the fictional MI6 agent James Bond. Bond investigates the theft of a space shuttle, leading him to arch-villain Hugo Drax. Bond follows the trail from California to Venice, Rio de Janeiro, the Amazon rainforest, and finally outer space to prevent a plot to wipe out the world population and to re-create humanity with a master race. The magical title song was sung by Shirley Bassey. This superb arrangement by Darrol Barry features soprano cornet and is suitable for all levels of band.
Estimated dispatch 7-14 working days
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