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£105.00
Danceries (Set II) - Kenneth Hesketh
Danceries Set II, arranged for brass band, was first commission by Keith Allen for the Birmingham Symphonic Winds. This second set of Danceries continues the format, established in the popular Danceries (Set I), of using tunes and dances from Playford's Dancing Master (17th century) to form the basis of an extended dancesuite. In this set, the melodies have become more abstracted and project only a distant echo of their original forms. As before, each movement is self-contained, colourful and direct, with its own distinct mood.The outer movements - Jennie's Bawbee and Peascod's Galliarda - share driving percussion with a military air. Tom Tinker's Toye and Heart's Ease (movements two and three) are both settings of original melodies. All movements are more extended than in the first set, with a freer use and approach to the material; melodies now occur in various keys and are supported by a greater variety of harmonic colouring. The result is a richer, even more exhilarating set of dances.
In Stock: Estimated dispatch 1-3 working days
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£69.95Ceremony - Jonathan Bates
DIFFICULTY: 2nd+. DURATION: 10'00". 'Ceremony' was commisioned by Musica da Domat, Switzerland and their Musical Director Gian Stecher in 2019. The concept of the work revolves around a number of religious processions which take place around the mountainous region of Graubunden in the south of the country and in more musical terms, a specific setting of the 'Stabat Mater' (heard in fragments throughout the piece, but only at the finale is it heard in it's entirety) which is traditionally the ceremonies around this area. Through-composed yet in 4 clear sections, 'Ceremony' opens with 3 fanafare trumpets/cornets positioned antiphonally across the back of the stage, each paired with a different pitched tenor drum, and in a different key - inspired by the idea of being able to hear the different ceremonies from all regions of Graubunden echoing up the valley in equal strength. Following this opening fanfare section, the procession around the hills begins with a tongue-in-cheek quasi-march in a far more upbeat and jovial mood. The centrepiece of the work is simply entitled 'Echoes', and once again returns to the idea of music breaking the almost eerie-silence as it reverberates around the vast valleys, before the culmination of the piece returns to material from the opening 'Ceremony' section in a more grandioso and bold style. . .
In Stock: Estimated dispatch 1-3 working days
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£174.10Three Gentle Giants - Svein H. Giske
Three Gentle Giantswas commissioned by Grenland International Brass Festival as a test piece for the 2nd division in 2008.Three Gentle Giants. The three giants each have their own monologue which leads into a conversation. They gather recognition and respect from each others views as the dialogue evolves. Eventually they find a more nutual and singular expression to their conversation.The giants are old with a long life behind them. This can be heard through a slow, melancholic waltz. A waltz is dance commonly linked to festiveoccasions, such as weddings, but for the giants it holds much more significance. It gives room to think about people they have met, placesthey have been, and all that life has given them.Quietly it ends, more or less like it began. We hear echoes of the past, before it all fades out.The giants wander off into a new beginning.Svein H. Giske- January 2023 -In Memoriam Thorvald, Finn and Thor Louis
Estimated dispatch 5-14 working days
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£127.30Graceful Ghost - William Bolcom
I came to know of this piece when hearing famous Norwegian ragtime pianist Morten Gunnar Larsen playing it at a concert with the Norwegian Navy Band Bergen. I was struck by its melancholic beauty and wanted to arrange it for band.Ragtimes are rarely in a minor key (which this one is) and when you first hear it, you might think it was written around the time when Scott Joplin was the main ragtime composer. But, if you listen more carefully, you notice that some of theharmonies are more advanced than one might expect in traditional ragtime, giving the piece a slightly more contemporary feel. The composer William Bolcom wrote Graceful Ghost in 1970 to honour the memory of his father and it is one of hismost popular pieces.
Estimated dispatch 5-14 working days
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£105.00Danceries. Set II - Kenneth Hesketh
Danceries Set II, arranged for brass band, was first commission by Keith Allen for the Birmingham Symphonic Winds. This second set of Danceries continues the format, established in the popular Danceries (Set I), of using tunesand dances from Playford s Dancing Master (17th century) to form the basis of an extended dancesuite. In this set, the melodies have become more abstracted and project only a distant echo of their original forms. As before, eachmovement is self-contained, colourful and direct, with its own distinct mood.The outer movements Jennie s Bawbee and Peascod s Galliarda share driving percussion with a military air. Tom Tinker s Toye and Heart sEase(movements two and three) are both settings of original melodies. All movements are more extended than in the first set, with a freer use and approach to the material; melodies now occur in various keys and are supported by agreater variety of harmonic colouring. The result is a richer, even more exhilarating set of dances.Brass Band Grade 5
Estimated dispatch 5-14 working days
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£104.99Toccata Festiva - Jan Van der Roost
'Toccata Festiva' was commissioned in 1994 by the Dutch Brass Band Championships. The wind band version was made a year later by the composer himself. Historically speaking, the toccata is considered to be one of the first independent instrumental forms for keyboard instruments. Originally the toccata was typically more or less improvised, later this musical form was given a more regulated structure. Both elements are used in the 'Toccata Festiva': on the one hand the different themes are developed freely, on the other, the piece has an orderly structure. It is in a three part form (quick-slow-quick) and includes both strong rhythmical figures and broad melodic lines. Partof the composition is written in a more or less archaic tone idiom, referring to the period from which the toccata form originates (16th century).
Estimated dispatch 5-14 working days
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£154.99Spiriti - Thomas Doss
A Bach chorale stands at the centre of this work (Fur deinen Thron tret ich hiermit).Anton Bruckner was one of Johann Sebastian Bach's great admirers. His work is full of the spirit of that musical genius. For Thomas Doss, it was Bruckner's spirit that always seemed to be with him while working on Spiriti. Bruckner's spirit is captured in this composition by a quote from the chorale of his Fifth Symphony at the end of the piece.The introduction, written in the style of a funeral march, already displays the first fragments of the chorale. Like splinters they are strewn throughout the first Allegro, combining and recombining in turbulent, powerful tuttipassages. As the music becomes more rambunctious, the Bach-like fragments begin to swirl around each other, only to be scattered once more.The middle-section is of a more pensive nature. The Religioso character gives the audience time to reflect. The music is meditative and the quarter-note (or crotchet) elements mimic a soul that is yearning and crying out.The third part of the piece finally leads, by way of minimalist elements and the fragments mentioned earlier, to a magnificent presentation of the Bach chorale. As the church bells ring out, one can almost hear the great masters presiding at the organ.
Estimated dispatch 5-14 working days
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£55.00Triumph Series Brass Band Journal, Numbers 1355 - 1358, November 2023
1355: March Medley - Pardoned Forever (Keith Manners)This collection of Easter-themed melodies should be played with enthusiasm and vigour. Featuring the songs He lives (S.A.S.B. 229), Chris is alive! Let Christians sing (S.A.S.B. 217) and No more! No more! He remembers sins no more (S.A.S.B. 460), the positive message of Easter Sunday is reflected in this bright march style.1356: Selection - I love the sweetest name (Noel Jones)This devotional selection includes three songs that feature the name of Jesus and derives its title from the following lines of those songs; 'How sweet the name of Jesus sounds' (S.A.S.B. 78), 'O, how I love the Saviour's name! The sweetest name on earth' (S.A.S.B. 94) and 'Sweetest name on mortal tongue' (S.A.S.B. 93).1357: Renewal (Harold Burgmayer)Will J. Brand penned the song Renewal (S.A.S.B. 634), with music by Bramwell Coles, for 'Day of Renewal' meetings conducted by General Albert Orsborn in October 1949. It was published in that form in The Musical Salvationist in 1951. Over time these meaningful words of consecration became wedded to an alternative tune, a lovely melody by Oscar Ahnfelt known as Trust in God (T.B. 903). This setting for band is based on a male-voice arrangement, conceived for a time of renewed consecration, sung by massed bands at the Canadian Staff Band's 50th Anniversary Festival in 2019.1358: Groove Hosanna! (Munashe Chikwezvero)This is a funk setting of three well-known melodies associated with Jesus' triumphal entry into Jerusalem. Today, such celebratory processions, and indeed most large gatherings, usually feature rich forms of music-making. Music provides atmosphere and generates excitement, and it is hoped that a funk inspired arrangement of these songs will inspire listeners to 'move to the groove'. The first two songs, Children of Jerusalem (S.A.S.B. 356) and Give me joy in my heart, keep me praising (S.A.S.B. 362) encourage us to sing 'Loud hosannas to our King!'. The words of the third song, When his salvation bringing, remind us that he "smiled to hear their song".
Estimated dispatch 7-14 working days
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£100.00Danceries (Set II) (Brass Band - Score and Parts) - Hesketh, Kenneth
Danceries Set II, arranged for brass band, was first commission by Keith Allen for the Birmingham Symphonic Winds. This second set of Danceries continues the format, established in the popular Danceries (Set I), of using tunes and dances from Playford's Dancing Master (17th century) to form the basis of an extended dancesuite. In this set, the melodies have become more abstracted and project only a distant echo of their original forms. As before, each movement is self-contained, colourful and direct, with its own distinct mood. The outer movements - Jennie's Bawbee and Peascod's Galliarda - share driving percussion with a military air. Tom Tinker's Toye and Heart's Ease (movements two and three) are both settings of original melodies. All movements are more extended than in the first set, with a freer use and approach to the material; melodies now occur in various keys and are supported by a greater variety of harmonic colouring. The result is a richer, even more exhilarating set of dances. Suitable for 1st Section Bands and above. Duration: 15.00
Estimated dispatch 7-14 working days
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£24.95
The Pilgrim's Prayer (Brass Band - Score and Parts) - Rouse, Sydney - Ball, Eric
Introduction - This could hardly be more simple. Inexperienced players may have some little difficulty in intonation, especially as they are starting 'cold', but a useful lesson can be learned in this connection when rehearsing these two bars. Section A - The music is hymn tune-like in character, but it should not become stilted. Close intonation is still a point to study, especially in view of the chromatic nature of some of the harmony. Section B - Aim to secure just balance in the accompanying parts, especially in the second phrase, where the 1st comets may be inclined to treat their moving part as an independent melody rather than part of the 'colour' background. Section C -This is a reprise of the first theme, with a different arrangement. The same comments apply, however. Section D - Here the music becomes more song-like in style, and provides an interesting contrast. The scoring, too, is more varied, and there are a number of points that call for attention. Note that the 1st and 2nd comets and 2nd trombone work as a team throughout; see that the pulsating, syncopated background adds to the movement of the music without giving a jerky effect; the new entries in the fourth and twelfth bars are to be made quite smoothly; and do not allow the texture of the music, especially in the last eight bars of the section, to overshadow the simplicity of the main tune. Section E - Here the first subject appears again. In the arrangement the colour contrasts are quite clear-cut. In order to secure true balance in the fifth and sixth bars, it may be necessary to adjust the amount of tone given by the bass trombone, as this part is not doubled as are the other parts. Section F -This section forms a simple but expressive coda.
Estimated dispatch 7-14 working days
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