Results
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£49.60Plymouth Sound (Brass Band - Score and Parts) - Mills, Nic
The concept of the work was to capture the beauty of the natural bay protecting the harbour at Plymouth. The work is based on two themes. The first being a lyrical melody to represent the beauty of the Sound and a march-like theme showing the military heritage the city has, through the armed forces based there. The opening fanfare immediately grabs the attention of the audience, and settles into a lyrical melody with the flutes and clarinets emulating the sea and the rolling of the waves. This jubilant piece turns to emulate a storm at sea. Then it moves into the march theme, which takes the main form for the second half of the piece, moving into a fanfare-like statement (recapitulation of the opening fanfare) to complete the piece. Overall, this is a fun work to play, with all sections of the band being tested and would be a great opener or finisher piece.Duration: 5.15
Estimated dispatch 7-14 working days
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£39.95The Divine Right (Brass Band - Score only) - Harper, Philip
At the time of composing this piece, the Arab Spring was sweeping through the Middle East. It seemed that almost every week a new country's people had risen up against the regimes and dictatorships which had prevailed for generations, leaving many nations at a defining crossroads in their history. There were so many possible ways ahead: so many hopes, yet so many uncertainties.This music is a depiction of these revolutionary times, and several musical themes are in turn presented, discussed, considered, fought over, altered, rejected or accepted.Most nations have had, or probably will have, their own Arab Spring, including the United Kingdom. Events of 17th Century Britain provide the context for this piece, particularly those following the execution of the tyrant King Charles I on 30 January 1649. The regicide was in part due to Charless steadfast belief in the Divine Right of Kings, and led to a tumultuous interregnum, where England stood at its own defining crossroads. The music begins turbulently, before King Charles appears and is led to the gallows outside Banqueting House in central London where he is brutally decapitated. From the assembled crowd rose, according to one observer,a moan as I never heard before and desire I may never hear again.The music descends to emptiness.The musical argument which follows is not strictly programmatic, but a number of musical themes are all thrown into the melting pot, representing ideas such as: religion; military force; reasoned Parliamentary debate; and the chattering, irrepressible voice of the people. Additionally, there are some quotations from the music of royalist composer Thomas Tomkins (1572-1656), who was often in tune with the feeling of the times.This defining episode in England's history was brought to a close with the Restoration of the monarchy in 1660, and as the exiled King Charles II rode back into London the diarist John Evelyn wrote:Never was so joyful a day seen in this nation. I stood in the Strand and beheld it, and blessed God.At the end of the piece the bells ring out, and the musical appearance of the King has transformed from turbulent to triumphant.Duration: 17.00
Estimated dispatch 7-14 working days
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£99.99
The Divine Right (Brass Band - Score and Parts) - Harper, Philip
At the time of composing this piece, the Arab Spring was sweeping through the Middle East. It seemed that almost every week a new country's people had risen up against the regimes and dictatorships which had prevailed for generations, leaving many nations at a defining crossroads in their history. There were so many possible ways ahead: so many hopes, yet so many uncertainties.This music is a depiction of these revolutionary times, and several musical themes are in turn presented, discussed, considered, fought over, altered, rejected or accepted.Most nations have had, or probably will have, their own Arab Spring, including the United Kingdom. Events of 17th Century Britain provide the context for this piece, particularly those following the execution of the tyrant King Charles I on 30 January 1649. The regicide was in part due to Charless steadfast belief in the Divine Right of Kings, and led to a tumultuous interregnum, where England stood at its own defining crossroads. The music begins turbulently, before King Charles appears and is led to the gallows outside Banqueting House in central London where he is brutally decapitated. From the assembled crowd rose, according to one observer,a moan as I never heard before and desire I may never hear again.The music descends to emptiness.The musical argument which follows is not strictly programmatic, but a number of musical themes are all thrown into the melting pot, representing ideas such as: religion; military force; reasoned Parliamentary debate; and the chattering, irrepressible voice of the people. Additionally, there are some quotations from the music of royalist composer Thomas Tomkins (1572-1656), who was often in tune with the feeling of the times.This defining episode in England's history was brought to a close with the Restoration of the monarchy in 1660, and as the exiled King Charles II rode back into London the diarist John Evelyn wrote:Never was so joyful a day seen in this nation. I stood in the Strand and beheld it, and blessed God.At the end of the piece the bells ring out, and the musical appearance of the King has transformed from turbulent to triumphant.Duration: 17.00
Estimated dispatch 7-14 working days
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£18.95Tribute Fanfare (Brass Band - Score and Parts) - Wiffin, Rob
This extended fanfare was originally written to open a major Military Tattoo and was designed as a tribute to the festal brass writing of Richard Strauss.Duration: 1.45
Estimated dispatch 7-14 working days
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£34.95
The Covenanters (Brass Band - Score and Parts) - Downie, Kenneth
In 1638, many members of the Presbyterian Church of Scotland signed a document called the National Covenant. By doing so, they were declaring that they acknowledged only Jesus Christ as the spiritual head of their church, and not any king or queen. This had become necessary because the Stuart kings believed in the Divine Right of Monarchs and saw themselves as head of the church. In the previous year, Charles I had forcibly introduced the Book of Common Prayer, invoking the wrath of the common people who faced the threat of torture, transportation or execution if they did not use the new liturgy and worship at their local church. The net result of this was that many met illegally in the countryside or in barns and large houses. These meetings became known as 'conventides' and many took place in the south-west of the country. Anyone caught attending was at risk of execution by the muskets of the dragoons who were employed in the area for that specific purpose. This music was written to honour the bravery and loyalty of these Christians to their faith, in the face of extreme danger, in the hope that it will inspire us also to be faithful. There are overtones of military threat, secrecy and solidarity. An old pentatonic tune is used, which the composer heard as a boy being sung to the words The Lord's My Shepherd.
Estimated dispatch 7-14 working days
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£17.50
The Covenanters (Brass Band - Score only) - Downie, Kenneth
In 1638, many members of the Presbyterian Church of Scotland signed a document called the National Covenant. By doing so, they were declaring that they acknowledged only Jesus Christ as the spiritual head of their church, and not any king or queen. This had become necessary because the Stuart kings believed in the Divine Right of Monarchs and saw themselves as head of the church. In the previous year, Charles I had forcibly introduced the Book of Common Prayer, invoking the wrath of the common people who faced the threat of torture, transportation or execution if they did not use the new liturgy and worship at their local church. The net result of this was that many met illegally in the countryside or in barns and large houses. These meetings became known as 'conventides' and many took place in the south-west of the country. Anyone caught attending was at risk of execution by the muskets of the dragoons who were employed in the area for that specific purpose. This music was written to honour the bravery and loyalty of these Christians to their faith, in the face of extreme danger, in the hope that it will inspire us also to be faithful. There are overtones of military threat, secrecy and solidarity. An old pentatonic tune is used, which the composer heard as a boy being sung to the words The Lord's My Shepherd.
Estimated dispatch 7-14 working days
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£34.95
Folk Dances (Brass Band - Score and Parts) - Shostakovich, Dmitri - Hansen, Torgny
Shostakovich's original was scored for symphony orchestra and subsequently arranged for military band by Vakhvinsky. This transcription for brass band is by Torgny Hanson from Sweden.
Estimated dispatch 7-14 working days
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£17.50
Folk Dances (Brass Band - Score only) - Shostakovich, Dmitri - Hansen, Torgny
Shostakovich's original was scored for symphony orchestra and subsequently arranged for military band by Vakhvinsky. This transcription for brass band is by Torgny Hanson from Sweden.
Estimated dispatch 7-14 working days
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£45.99HRH Duke of Cambridge (Brass Band - Score and Parts) - Arnold, Malcolm - Duncan, Andrew
Arnold wrote this march in 1957 for the centennial of the Royal Military Music School at Kneller Hall. The Duke of Cambridge was, at that time, Commander-in-Chief of the British Army. The dedication of the march reads, "To Lt. Col. David McBain," who was bandmaster there.Here is the Brass Band version expertly arranged by Andrew Duncan.
Estimated dispatch 7-14 working days
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£59.99Fanfare and Flourishes (Brass Band - Score and Parts) - Curnow, James
What a way to open any concert. Fanfare and Flourishes is a spectacular short work that mixes all the pageantry of a military tattoo with the well-known Charpentier (1634-1705) Te Deum, a tune everyone will recognise as the theme tune for the Eurovision Song Contest! A brilliant piece to start a concert with a bang!Duration: 2:10
Estimated dispatch 7-14 working days
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